97th Annual Academy Awards - Oscar Picks by Reviews by Matthew
Movie Reviews by Matthew
http://www.reviewsbymatthew.com/Oscar_Picks_by_Reviews_by_Matthew/97th_Annual_Academy_Awards-Oscar_Picks_by_Reviews_by_Matthew.html97th Annual Academy Awards - Oscar Picks by Reviews by Matthew
The 97th Annual Academy Awards will be held on Sunday, March 2, 2025, and it’s coming way too soon. This year’s list is uniquely limited and cross-pollinated, so as to appear so uncomfortably varied in its own lack of diversity that this year may prove to be one of the more challenging races I can remember. And that’s before the controversies even begin. Oh, Boy…that’s excitement mounting, Yo!
Note: For those of you that are new to this write-up, there’s a section located on the very last page called, “Oscars at A Glance”. There, you can find a quick list of the winners that I’ve chosen for every category. So, now the both of us can play without all the distracting words getting in the way of the bottom line.
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-m-'s: Oscars At A Glance: How many will I get correct ? Totals - 18 out of 24 picked Category -m-'s Picks The Oscar goes to: Best Picture – “Anora” Best Director – “Sean Baker” (Anora) Best Actor – “The Brutalist” (Adrien Brody) Best Actress – “The Substance” (Demi Moore) Best Supporting Actor – “A Real Pain” (Kieran Culkin) Best Supporting Actress – “Emilia Perez” (Zoe Saldana) Best Animated Picture - “The Wild Robot” Best Screenplany (Original) – “Anora” (Sean Baker) Best Screenplay (Adapted) – “Conclave” (Peter Straughan) Best Cinematography – “The Brutalist” Best Art Direction – Best Production Design “Wicked” Best Costume Design – “Wicked” Best Makeup – “The Substance” Best Film Editing – “Conclave” Best Original Score – “The Brutalist” (Daniel Blumberg) Best Original Song – “Emilia Perez” (El Mal) Best Sound – “Dune: Part Two” Best Visual Effects – “Dune: Part Two” Best International Feature - “Emilia Perez” Best Documentary (Feature) - “No Other Land” Best Documentary (Short Subject) – “Incident” Best Short Film (Animation) – “Wander to Wonder” Best Short Film (Live Action) – “The Man Who Could Not Remain Silent” PICTURE –
“Anora” – This Pretty Woman / Home Alone mashup has its charms for sure, but I had trouble imagining they’d be universal enough with voters to get the film over the final hump. #Pun. When it lost at the Golden Globes that started a trend of prognosticators counting it out, but then it lands the quadfecta (yes, it’s a word) of Critics’ Choice, Directors, Producers and Writers Guild awards? I mean, Lights Out, Yo!Note: The only film in Oscar history to win the Critic’s Choice, DGA, PGA, and WGA awards and then lose the Best Picture Oscar is Brokeback Mountain.
“The Brutalist” – This film wins for its achievements behind the camera, as well, if not more so, for those in front of it. Meaning this three-and-a-half-hour adult-themed epic, with an intermission, that was made for roughly ten million dollars is a celebration of filmmaking that the Academy won’t fail to get behind. Wait…Ha-Ha! Yes, they will.
“A Complete Unknown” – The Oscar bait bio pic was nominated for eight Academy Awards and feels itself like a pastime. Its chances are middling, at best.
“Conclave” – The most likely winner of a preferential ballot sh*t-show. My guess is Conclave will rank anywhere from 2-4 on most Academy members voting cards. If Anora and The Brutalist split enough #1 votes to keep them below the finish line, Conclave’s consistency behind them can absolutely help it rise to the top. Is it likely? No. Does it deserve it? Not really, but everyone could live with it.
“Dune: Part Two” – Denis Villeneuve has been adamantly ignored by the Academy in the directing category for both Dune films. Denis, and his films, deserve so much better, but I expect this shameful trend to continue this year.
“Emilia Perez” – Despite the over-nomination controversy, you can’t ignore the fact that the film got thirteen of them. Still, the only foreign language film to ever win the Best Oscar prize is Bong Joon-Ho’s Parasite, and this French oddity is a far cry from that exemplary Korean masterpiece. So, best of luck tonight in your other categories, Ms. Perez, you’re gonna need it.
“I’m Still Here” – What you want to be a legit category wild card suffers the same foreign language limitations and fate as Emilia Perez. Its chances are better in the Best International Feature and Best Actress categories where the strengths that got it into the Best Picture category can be honored.
“Nickel Boys” – With only two nominations this year, and not one for Cinematography (it’s most noteworthy aspect), this one understandably ranks near the bottom of the voting list.
“The Substance” – The power of this body horror ride is in its metaphorical statements, which may have been difficult for some to translate under its quintessentially abject exterior. It’s a film worth recognizing though, and regardless of the meal it makes of itself, I can’t see a healthy swath of voters supporting it as the best example of cinema last year.
“Wicked” – The single noteworthy win for the film this year was when, out of left field, its director, Jon M. Chu won the Critics Choice award. So, regardless of its merits understandably, there appears to be too much heft this year, category-wise, to think the biggest, broadest, fluffiest film has a shot. Note: The film is now in the Guinness Book of World Records as the Highest-grossing movie based on a stage show.
DIRECTOR –
“Anora” – Sean Baker (The Florida Project) won the Directors Guild (DGA), Producers Guild (PGA) and the Writers Guild (WGA) awards this year. Expect the Guild Trifecta to beat Corbet’s Golden Globe and BAFTA wins.“The Brutalist” – Brady Corbet (Vox Lux) was the expected Directors Guild (DGA) winner, so…he should have been a lock. Now, after having lost the top three Guild and Critics Choice honors to Sean Baker this win is no longer a comfortable shot.
“A Complete Unknown” – James Mangold (Ford vs Ferrari) is a deserving director winner. I’d have been happier seeing him win for Ford vs Ferrari, but I expect to see him back here contending with a more universally beloved film soon.
“Emilia Perez” – The auteur Jacques Audiard (Paris, 13th District) has made one of the louder splashes in recent memory with his trans-driven drug cartel musical. Problem is that splash waterlogged the zeitgeist, leaving more people cheering for his film’s losses. #Ouch
“The Substance” – Coralie Fargeat (Revenge) was in a flip-flop 2nd or 3rd with Sean Baker during the first half of award season. As things have panned out, she’s likely on the bottom half of a filp-flop with Brady Corbet. This flusters me as I still can’t see, regardless of the award-winning track record, how this or Anora are beating Corbet’s Oscar-ready epic.
ACTOR –
“The Brutalist” – Adrien Brody (The Pianist) has won every televised award this year except for the SAG. Statistically speaking he’s thirteen award season wins ahead of Ralph Finnes, and three behind Colman Domingo. The difference there, is Colman’s award wins are largely Critic’s wins which carry a weaker visible profile. And all of that is before you factor in the strength and narrative of his film. Bottom line, Brody’s the smartest bet here.“A Complete Unknown” – Timothee Chalamet (Call Me by Your Name) wins the SAG award in what’s typically a beloved genre, the biopic. It feels a bit to me that voters awarded Chalamet here to honor and support his strength and ability as an actor. Chalamet’s relationship with the awards body at large feels very similar to DiCaprio’s to me. If that’s the case, then it’s gonna be a bit of a long haul for him to win Oscar gold but when he does, it will be absolutely undeniable and so damn well earned.
“Sing Sing” – Colman Domingo (Rustin) is an actor that audiences are ready to see win. So, what are voters waiting for? See also: Glenn Close, Amy Adams, Saoirse Ronan, Michelle Williams, Bradley Cooper, Willem Dafoe, Ed Harris, and Edward Norton. #ToNameAFew
“Conclave” – Ralph Finnes (Schindler’s List) is the center piece of this smartly casted film. A winning path to Oscar this year is steep and overgrown for the long overdue Finnes.
“The Apprentice” – Sebastian Stan (A Different Man) suffers this year two-fold. Firstly, he won the Golden Globe for his performance in a different film and in this one, he’s playing, arguably, the most unlikable American alive.
ACTRESS –
“Wicked” – Three-time Oscar nominee Cynthia Erivo (Harriet) is unfortunately the least talked about actress in this category, making the likelihood of a win here very remote.“Emilia Perez” – Karla Sofia Gascon (Harina) was most likely trailing far behind in this race before any of her tweet controversy started to arise. The fallout however has painted Gascon, almost exclusively, as this year’s Oscar villain which all but ensures her loss.
“Anora” – Mikey Madison (Once Upon a Time in Hollywood) is an interesting choice here. A perfect winner for the critic’s circles but as a first time Oscar nominee, I’m not convinced. Congratulations on the BAFTA win, which is a corelating precursor to winning this award, but the wealth has to be spread, which means something’s gotta give tonight and this feels like the weakest link.
“The Substance” – Demi Moore (Ghost) has it all this year. The film, the personal/industry story line and the award season success to back this win up.
“I’m Still Here” – Fernanda Torres (Normal People) is one of only two Brazilian actresses to ever be nominated for an Academy Award. Seeing as how the first Brazilian was her real-life mother, it seems only fitting that this, coupled with her stellar performance, which single-handedly earned the film Best International and Best Picture nominations, earns her the coveted Oscar. It’s a nice thought but I don’t think it’s meant to be.
SUPPORTING ACTOR –
“Anora” – Yura Borisov (Centaur) is the only nominee here that I can’t see winning. I really liked his character and performance but there’s way too little of both in the film to believe there’s a win for him here.“A Real Pain” – Kieran Culkin (Succession) has been this year’s single unquestionable award season winner. Don’t expect that to change on Oscar night?
“A Complete Unknown” – Edward Norton (Fight Club) is the most likely runner up in a year that’s been a complete lock for Culkin.
“The Brutalist” – Guy Pearce (Memento) is a lifelong favorite of mine. So let this be a reminder to the Academy that there should still be a career path to Oscar gold for him.
“The Apprentice” – Jeremy Strong (Succession) is an Emmy and Golden Globe winning actor for television. This nomination feels like an earned step up for sure, and that feels like recognition enough this year. #WelcomeToTheClub
SUPPORTING ACTRESS –
“A Complete Unknown” – Monica Barbaro (Top Gun:Maverick) has only been nominated here and at the Screen Actors Guild awards this year. Neither are likely wins for the actress.“Wicked” – Ariana Grande (Don’t Look Up) has seen some respectable support for her performance in the film. I think most voters will see that as a very welcoming introduction to the award circuit as well as hope for her future endeavors.
“The Brutalist” – Two-time Oscar nominee, Felicity Jones (The Theory of Everything) is meant to be an Oscar winner in my mind. I earnestly hope I’m not the only one who thinks so but this year I don’t see many, if any, hands up in support of that ideal.
“Conclave” – Isabella Rossellini (Blue Velvet) is a legend, but this nomination and character are almost directly in line with Yura Borisov’s, just without the charm. I can’t buy into a win here.
“Emilia Perez” – Zoe Saldana (Avatar) is arguably the only solid choice to give Emilia Perez an award without any backlash. Saldana’s a worthy Oscar winner even if the film is not.
ANIMATED FEATURE –
“Flow” – This silent film is universally impressive. It also earned a nomination in the International Feature category and gets my vote as the best animated film of the year. However, after watching it, I get how just barely left of the mainstream it will be to voters.“Inside Out 2” – This feels tired. Whadda ya say we pass on the animated sequels, yeah?
“Memoir of a Snail” – I’m really looking forward to watching this one after Oscar season is done.
“Wallace & Gromit: Vengeance Most Fowl” – Less tired than the Disney sequel entry but with a seemingly less profile too. #BAFTASaysWhat?
“The Wild Robot” – There’s a much bigger seasonal profile for this Dreamworks front runner than any other film here. Also nominated in three different categories: here, Score, and Sound, which I originally thought to be 8’s or 9’s to Flow’s two Aces (here, International Feature). Yet, as the season’s rolled on, The Wild Robot just keeps winning; resoundingly so. I don’t agree, but why bet against it now?
SCREENPLAY ORIGINAL –
“Anora” – Sean Baker’s on a winning streak, Yo! And an award here is a surer bet than in the Director category.“The Brutalist” – Brady Corbet and Mona Fastvold have become unlikely candidates here with the race focusing on the surprisingly heavier weights of Anora and The Substance.
“A Real Pain” – Jesse Eisenberg (The Social Network) delivers a fine script in a film I thought was going to have more personal impact. After seeing it, I second-guessed Kiernan Culkin’s chances too, but that road to Oscar gold seems pretty well paved.
“September 5” – Moritz Binder, Tim Fehlbaum and Alex David penned a film that was getting a good amount of buzz right before award season began. Then, like Nickel Boys and Sing Sing, has been little heard from or considered since.
“The Substance” – Coralie Fargeat may deserve a win here, but the only other horror film to win this category is Jordan Peele’s Get Out in 2017. And so, while this film is culturally significant (targeting aging women in Hollywood and beyond), a win is most unlikely against Sean Baker this year.
SCREENPLAY ADAPTED –
“A Complete Unknown” – James Mangold and Jay Cocks could technically eke out a win here, mostly for Mangold’s filmography, but I could never commit to that bet.“Conclave” – Peter Straughan earns his second nomination (2012’s Tinker Tailor Soldier Spy) and first Oscar win.
“Emilia Perez” – Jacques Audiard (in collaboration w/ Thomas Bidegain, Lea Mysius, and Nicolas Livecchi) could not have possibly adapted those songs from Boris Razon’s book. It’s a ‘No” for me.
“Nickel Boys” – RaMell Ross and Joslyn Barnes won the Writers Guild (WGA) award in a category that lacked competition from Conclave. In a head-to-head competition, I’m betting against the Directors Guild’s (DGA) first-time theatrical feature winner.
“Sing Sing” – Clint Bentley and Greg Kwedar have unfortunately failed to make any “waves waves” outside of critic’s circles, and even there, the writing wins are almost non-existent.
PRODUCTION DESIGN / ART DIRECTION –
“The Brutalist” – The architecture is a center piece of the film which normally bodes well but this year the Academy’s got Oz on their minds.“Conclave” – The length, breadth and depth of the Vatican are on full display and there’s little denying the impact they have within the film. This year though, I think the rigidity of the sets and costumes are in opposition to voters and their flights of fancy.
“Dune: Part Two” – I personally never cared for the production design of the two Villeneuve films. Somehow too wide, flat, and oddly drab to feel as expansive as they might in reality. And it’s the ‘drab’ that does this one in this year.
“Nosferatu” – Talk about ‘drab’.
“Wicked” – Oscar’s going to Kansas, Toto!
CINEMATOGRAPHY –
“The Brutalist” – Lol Crawley (The Secret Garden) earns his first nomination in epic style and should be good for the win.“Dune: Part Two” – Greig Fraser (Dune: Part One) won this award for the first film. There’s plenty of reason to give it to him again but overall, Dune’s having a rougher go of it this year; I think voters are likely to take an opportunity to honor something and someone else instead.
“Emilia Perez” – Paul Guilhaume (Paris, 13th District) earns his first nomination with his second film photographed for director Jacques Audiard. Interestingly enough, this film’s photography is one of the aspects more positively referenced by audiences. Does that translate? I don’t think so.
“Maria” – Four-time Oscar nominee Ed Lachman (Far from Heaven, Carol, El Conde) delivered a lovely look at a life both admirable and tragic, but as the sole nomination for the film, and against these other, more popular options, I’m afraid it’ll keep him a bride’s maid here. Note: Lachman just won his first ASC (American Society of Cinematographers) award for his work on Maria after receiving ASC’s Lifetime Achievement award in 2017. At least the Guild honored him, and not once but twice. Could this be a surprise upset?
“Nosferatu” – Two-time Oscar nominee, Jarin Blaschke (The Lighthouse) has delivered more of his impressively notable-brand imagery. Mark my words, he will win this award, just probably not tonight.
FILM EDITING –
“Anora” – Is not the film I think of when I think “film editing” in 2024. It is however going to be the Best Picture winner and there’s historically been a correlation between the categories. I’m still not voting for it. This year, I expect a few Trend & Tendency shake ups, this is one of them.“The Brutalist” – Oddly enough, this is the only film in the category to not earn an ACE (American Cinema Editors) award nomination. Not that that knowledge helps much as that particular ceremony has been delayed to March 14 due to the California wildfires.
“Conclave” – It’s the effectiveness of this quiet, talky, thriller that gives it the best chance here. And that BAFTA win for Best Film doesn’t hurt.
“Emilia Perez” – Perhaps the most editing in a category film this year, Wicked’s extended runtime not-with-standing, and in a non-controversial year, this is a solid runner-up if not the outright winner.
“Wicked” – Out of three-hundred and four total award season nominations, the musical only garnered three of those in the film editing category. I don’t like those odds.
COSTUME –
“A Complete Unknown” – The Mod Squad may be era appropriate but it’s nowhere near as flashy or interesting as the remainder of this year’s options.“Conclave” – “Nobody expects the Spanish Inquisition!” which is why the film has a shot.
“Gladiator II” – Toga! Toga! Toga!…but probably not.
“Nosferatu” – Meh-feratu.
“Wicked” – The obvious choice is the more elaborate and flashier garb over the subdued iconography of the church.
MAKEUP –
“A Different Man” – An homage to David Lynch (The Elephant Man) that would have stood a better chance in a year without The Substance.“Emilia Perez” – Overperformer says, What?
“Nosferatu” – A suitable but not particularly exciting nominee here. Orlock and Willem Dafoe’s mustache are its most alluring aspects but compared to The Substance they’re ineffectual.
“The Substance” – Visceral, abject body horror, working in tandem with theme, in all its Oscar glory.
“Wicked” – I’m hampered here because Wicked is one of the few films I haven’t seen this year. (#GaspIKnow) so commenting on the extent and quality of the makeup is impossible for me. It won at the Makeup Artist and Hair Stylist Guild so I can’t count it completely out but that Substance, Yo! I mean, Whew.
ORIGINAL SCORE –
“The Brutalist” – Daniel Blumberg (The World to Come) may have the smallest credit list of any Oscar winner in history: three films (one of which is in post-production), a single short and one music video. Go, Danny Boy!“Conclave” – The 2023 Oscar winner, Volker Bertelmann (All Quiet on the Western Front) seems easier to pass over because of his most recent win. And that’s before those jarring violins get at you.
“Emilia Perez” – Clement Ducol and Camille deliver better here than they do with those songs but still.
“Wicked” – John Powell (How to Train Your Dragon) and Oscar winner Stephen Schwartz (Pocahontas) provide a truly effective score that is surprisingly understated. Far from flashy, I found it best described as a score that supports rather than one that propels. Unfortunately, this year, “support” isn’t gonna win the gold, but it has won a spot in my vinyl catalog.
“The Wild Robot” – Documentary Short winner, Kris Bowers (The Last Repair Shop), deliverers a bright and unmistakably animated score. What’s easily my favorite nominee on this list is a lot of descriptively different and complimentary things, but “winner” tonight is probably not one of them. 100% deserving but I don’t think voters will take it seriously.
ORIGINAL SONG –
“Emilia Perez” – “El Mal”. Clement Ducol and Camille are nominated twice in this category this year. This first Spanigh-language track has a series of seemingly dry rap-inspired verses with a significantly catchy chorus. Because of this latter, it certainly has the potential to win here and remains the most likely candidate.“The Six Triple Eight” – “The Journey”. Give it up for sixteen-time nominee Diane Warren who sets upon the 2021 Best Original Song winner H.E.R. (Judas and the Black Messiah) to deliver the most Oscar-baity song of the category. Not feeling a clean win exactly, but that late high note sure has potential.
“Sing Sing” – “Like A Bird”. Abraham Alexander and Adrian Quesada send up this stripped-down track that bellies the sparse and limited confines of its film’s setting. Taking a bit of time to bore in, the track becomes more and more a part of the listener as it continues. A good song but it’s not likely to win.
“Emilia Perez” – “Mi Camino”. Delivered by Selena Gomez (Only Murders in the Building) and Edgar Ramirez (2015’s Point Break) this remarkably more ABBA-flavored piece is far less flashy than “El Mal” and therefore easier to discount, even though it’s probably a better overall song.
“Elton John: Never Too Late” – “Never Too Late”. Elton John and Bernie Taupin are back again (after winning in 2020), this time with Brandi Carlile (Onward) and Andrew Watt (Barbie) in tow. Combined, they deliver this contemplative later-life adult-contemporary piece that works exceedingly well as a career swan song. Possible it could win but most likely it’ll be the “too soon to award again” candidate.
SOUND (Combined Sound Editing and Sound Mixing Categories) –
““A Complete Unknown” – No Boom, No Glory, Yo!“Dune: Part Two” – Dune: Part One was the easy winner here a few years back. Can it repeat, should it? I just don’t see the other films as legitimate threats on the auditory scale.
“Emilia Perez” – There are joke writers out there, right now, trying to equate this with hearing the songs in the film. Probably a few voters too.
“Wicked” – VaRoom BaRoom! If there’s a 1-2 Step between Sound and Visual Effects for Wicked, this is the film’s strongest of its two left feet.
“The Wild Robot” – I’d love to pick this here, I think I tried with Wall-E a number of years ago, but in the almost one-hundred-year history of the Academy awards no animated film has ever won a sound award. Don’t think I’ll bet on this one to be the first.
VISUAL EFFECTS –
“Alien: Romulus” – As the seventh film in the main “Alien” franchise, a nod here feels as tiring as the de-aging effects look in the film. As such, it’s odds are on par with a new “Star Wars” film recapturing this award. #NotLikely“Better Man” – See Kingdom of the Planet of the Apes for reference, but if you’ve got to Mo-Cap Monkeys, again, it’s the Where, How and Why you do it that gives you a leg up. Some pretty original thinking here, but still…#InnovationImpresses
“Dune: Part Two” – He rode a frickin’ Sand Worm, Yo! But is that enough to repeat? The first film won six Oscars and honestly, this category feels like it’s the second film’s only guaranteed shot. So, yes, riding a sand worm has to be enough.
“Kingdom of the Planet of the Apes” – No Mo Mo-Cap Mo(nkey)s!
“Wicked” – Stating emphatically that the film loses because of “More Monkeys” is reductive in an almost offensive way, but c’mon, man…More Monkeys, really?
BEST INTERNATIONAL FEATURE FILM –
“I’m Still Here” – The surprise here is that the Brazilian film is also nominated in both Best Actress and Best Picture. Bringing a lot of “must see” attention to the film. The trouble is that it has exactly ten less Oscar nominations and nine less award season wins than this category’s most likely front runner. A win here would be a welcome upset.“The Girl with the Needle” – This truly dark Denmark entry is cinematographically impressive. And like its silent film aesthetic is as quietly being dismissed.
“Emilia Perez” – Thirteen nominations and significant backlash concerning over-performance and mixed responses to the final product. With what IMDb reports as one hundred-and-five award season wins, it might be a weak but still steady horse. As such, I’m having a tough time betting against it. Perhaps not all of its love is lost.
“The Seed of the Sacred Fig” – The German film has been a very quiet category mainstay of award season. As such it’s clearly running behind this race’s biggest horses.
“Flow” – The third foreign language film from this category to be named in another Best Picture category. This one will have a tough enough time trying to win Best Animated Film to think it could double up here.
BEST DOCUMENTARY (FEATURE) –
“Black Box Diaries” – This #MeToo related film is a good reminder that the victim is the story and not the perpetrator or the salaciousness so often sought in recounting and/or defining details. That goes a long way when exploring the long road to recovery but doesn’t lift the film out of fourth place.“No Other Land” – Building personal and emotional bridges between Israel and Palestine is the contentious topic here. So much so that the film is still without a distributor. Talk about making a statement with a win.
“Porcelain War” – Dealing with artists in Ukraine during the Russian invasion/occupation, this high profile (Sundance Grand Jury prize and Directors Guild winner) also has the fewest wins of the season overall.
“Soundtrack To a Coup D’Etat” – This is the most innovative documentary I’ve seen in a long time and is my favorite of the films I’ve seen here, but I’m feeling this year is about “topics” moreso than innovation; so, let’s rank this one third.
“Sugarcane” – The disheartening documentary displaying the horrors enacted on native American children in the Canadian religious school system is likely to come up short against the categories other heavy hitters.
BEST DOCUMENTARY (SHORT SUBJECT) –
“Death By Numbers” – The Parkland shooting survivor’s journey has a real chance but of the two topically-related films here, this is the less immediately impactful.“I Am Ready, Warden” – The justice focused short has a personally interesting premise to me that could provide much more devastating drama, in a fictional feature setting, to the ideas and persons introduced here.
“Incident” – Absolutely stunning!
“Instruments of a Beating Heart” – Reminiscent of last year’s winner, The Last Repair Shop, in some respects, the film has both lessons and love but not enough of both to claim the Oscar.
“The Only Girl in the Orchestra” – An equitable contender here but one that’s far different in subject matter. This was one that I wasn’t ready for it to end; there’s way more to Orin O’Brien’s life and story that remain interesting. It’s most likely third but is the kind of story that could surprise.
BEST SHORT FILM (ANIMATION) –
“Beautiful Men” – Three brothers face hair loss and other insecurities in what apparently plays out like a great pitch for a live action film.“In the Shadow of the Cypress” – The silent film from Iran deals with a father suffering from PTSD and the daughter who’s in charge of his care. I hear it’s quiet, moving, and packs a bit of a metaphorical punch. I love what I’m hearing about this short but am really struggling as not a single one of these animated short films have been available for me to screen this year. It has an impressive nomination/win ratio (34 of 37), but its most notable award was from the Tribeca Film Festival and I’m not so confident with that as a betting base.
“Magic Candies” – The short sees a young boy who acquires communicative powers with inanimate objects and animals after eating some sweets. I love the premise and hear the film has an emotional whimsy, but with only three total award season nominations, a win doesn’t seem likely.
“Wander to Wonder” – Forty-two award season wins, two of which include the BAFTA and Annie, so, sight unseen, I’m not betting against it.
“Yuck!” – The French film about children coming to terms with kissing is a definitive crowd pleaser. But apparently, since 2010, the winner of this category has been either an English speaking short or one that’s almost dialogue free. That doesn’t bode well for Yuck! but let’s see if that stat holds true.
BEST SHORT FILM (LIVE ACTION) –
“A Lien” – A family races to a governmental interview where the outcome will determine the status of one partner’s immigrant status. Tautly frenetic, the short sees President Trump featured on a news report but there’s also an argument to be made concerning self-fulfilling prophecy…so there’s messaging here for sure. Delivers a discomforting look at both bureaucracy and a lack of systemic respect for individuals in potentially tense, even frightening immigration situations. A potential runner-up but…“Anuja” – The India set short offers up a positive message but ends with a complete unknown hampering, I believe, its impact and chances.
“I’m Not a Robot” – Wow! A woman at her computer fails a series of Captcha tests raising the question that she may in fact not be a human at all. Very well done but could easily be passed over.
“The Last Ranger” – Rhino poachers in post-pandemic South Africa, didn’t get to screen it but don’t think that matters.
“The Man Who Could Not Remain Silent” – This Palme d’or winner for best short film is an impactful retelling of the 1993 Strpci massacre where Tomo Buzov exemplified standing up for injustice. Certainly Holocaust-adjacent and ripe for the win.
And that’s a Wrap, Yo! A little underconfident in the final tally. I’m sure there’s some mistakes but I’m hard pressed to find them. It’s been an uncertain and challenging year for sure; the first this “messy” in a while and that’s been both fun and nerve-wracking. Nothing to do now but grab a seat and settle into these commercials, twenty-minutes of trailers, and wait for the show to begin. See you all Sunday night.
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Turn Down The Lights, Turn Up The Sound. Matthew Gilbert © 1999-2025 All Rights Reserved.
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