One of the most sought-after awards in filmmaking, the 2025 Best Picture category of the Academy Awards leaves something to be desired compared to past award seasons.
Last year was one of the best years for movies, with releases like Christopher Nolan’s Oppenheimer, and a new favourite for me, Justine Triet’s Anatomy of a Fall. While Oppenheimer took home the award for Best Picture, I couldn’t help but feel there were so many amazing films that could’ve just as easily taken it home. Unfortunately, this year’s nominations pale in comparison.
Anora
Sean Baker’s Anora is an exciting and evocative dramedy following the unconventional relationship between a sex worker and the son of a Russian oligarch. Not only was the film an honest and genuine depiction of sex work, Anora took on themes of class and identity, asking what it means to be taken seriously as a person. Sean Baker is one of the most exciting filmmakers working today, and some regard Anora as his magnum opus.
The Brutalist
The Brutalist follows architect László Toth and his wife as they flee post-war Europe and try to make a life for themselves in the United States. When László’s unique style is recognized by a wealthy businessman from Pennsylvania, he finds himself with a chance to start over. Brady Corbet’s historical epic touches on the question of what it means to appreciate art and believe in beauty during difficult times. With 10 nominations and extensive critical acclaim, I believe The Brutalist has the potential to win the category.
A Complete Unknown
A Complete Unknown follows the transformative early years of folk-singer Bob Dylan’s career. The film was well done, but is ultimately just another biopic, relying on the fact that the audience enjoys Dylan’s music and wants to learn more about him. For a story about Dylan’s decision to “go electric” at the 1965 Newport Folk Festival, it failed to take a stance on the topic, falling short of being a memorable watch for me.
Conclave
Conclave tells the story of the sudden death of the Pope, prompting the College of Cardinals to come together and elect a successor. The Archbishop of Kabul complicates the story as he reveals the Pope had secretly appointed him as a cardinal, unveiling multiple secrets amongst the conclave. Though serious, I found the film unexpectedly funny at times, which was a directorial risk I appreciated. However, I found the tensions between conservatism and liberalism somewhat underdeveloped.
Dune: Part Two
Denis Villeneuve’s Dune: Part Two is undeniably a part of the conversation for best picture. The film follows Paul Atreides, played by Timothée Chalamet, as he attempts to avenge his family’s downfall and fulfill his destiny on the desert planet of Arrakis. The first portion of the saga did exceptionally well at the 2022 Academy Awards, having been nominated for Best Picture, along with Visual Effects, Original Score, and others. I found part two to be just as exceptional as its predecessor, but I think it’s unlikely a sequel will be chosen for Best Picture.
Emilia Pérez
Emilia Pérez is a musical crime comedy following a Mexican cartel leader who seeks the assistance of an overworked and underpaid lawyer, to help fake their own death and transition to living as a woman.
This film received the most nominations this year, the reasoning for which escapes me. I found the moral complexities only touched on at the surface level, and many transgender women felt it was an inauthentic representation of their experience. Additionally, for a musical, I found the soundtrack shockingly abysmal. Credit where credit’s due, the cinematography nomination was deserved, as each shot managed to hold my attention through visual appeal alone. However, I remain unconvinced Emilia Pérez should be in the conversation for Best Picture.
I’m Still Here
ittedly, I’m Still Here is the only movie on this list I haven’t seen. I’m Still Here is a Brazilian drama directed by Walter Salles. Set during Brazil’s military dictatorship in the 1970s, the film portrays the true story of Eunice Paiva’s search for her husband, a former congressman displaced by the regime. Salles knew the family as a child, and his is reportedly empathetic, and engaging.
Nickel Boys
Nickel Boys is the hidden gem of this year’s Best Picture category. The film follows Elwood Curtis, a Black teenager in the Jim Crow South. Elwood is mistakenly arrested for stealing a car and sent to Nickel Academy, a reform school notorious for its abuse of Black students. By telling the story from a unique point of view, each scene feels personal and emotionally evocative. Nickel Boys is my personal favourite, but without a Best Director, Actor, or Cinematography nomination, it’s unlikely the Academy will favour it.
The Substance
The Substance is a provocative body horror film following Elizabeth Sparkle, a once-celebrated Hollywood actress now deemed over the hill, who’s confronted with the option to take a serum that will revert her to a younger version of herself.
Going into The Substance, I thought the commentary on aging women in Hollywood was overdone, but my low expectations were significantly exceeded. While I enjoyed the film, I don’t think it had as much behind it as The Brutalist or Anora.
Wicked
Wicked was a huge release last year, but in case you haven’t heard, it’s a musical fantasy adapted from the 1995 novel by Gregory Maguire and the Broadway musical of the same name. The story serves as a prequel to The Wizard of Oz, exploring the untold tale of the witches of Oz.
I found the most exciting elements of the film were in costume and set design, as well as the musical numbers, but I don’t feel it brings anything new to the category.
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