In the weeks leading up to Oscar After the nominations, the race usually begins to narrow and a clear picture of the films that will be selected for each category by Academy voters. But this year, the race only got weirder and weirder as time went on. Films like “Anura,” “Maria” and “The Brutalist” — which a few months ago looked like sure things for slots in the big five categories — have fallen behind late-breaking wild-card contenders like “Wicked” and “Conclave” picked up steam among general audiences, and in turn, Oscar voters.
Despite the Oscars being more global and diverse than ever, it seems Academy voters have yet to drop their pretense when considering truly remarkable work that doesn’t neatly fit into a box.
Then, there was the question of “Emilia Perez.” Despite to divide Controversial with critics and audiences alike for its portrayal of a trans cartel leader who uses gender-affirming surgery as a redemptive arc, the film scored big at this month’s Golden Globes. Although the Globes represent a purely international voting body, the 10 nominations they gave the film were impossible to ignore. That was echoed this morning by the Academy, which awarded “Emilia Perez” an even more astounding 13 nods, including a historic nomination for star Carla Sofia Gasson, the first openly gay Oscar nominee. She became a trans actor.
“Emilia Perez” also immediately won best motion picture, musical or comedy at the Globes ceremony on Jan. 5, marking the film as Netflix’s top contender at the Oscars, with “Maria” at the bottom of the deck. Changed. “The Brutalist” took home parallel awards at the Globes, collecting golds for best motion picture, drama, and best director. But the shoestring-budget sprawling screen epic failed to make waves with Screen Actors Guild voters, ultimately being edged out of the SAG Awards’ top category by “Wicked.” And, of course, “The Matter,” is the little film that could. The body-horror hagsploitation film has been a box office smash and is also winning awards with voters, showcasing long-overlooked dramatic talent with “The Last Showgirl.”
Oscar Sunday warms up to a sprint with the Dash, watching Bowen Yang and Rachel Sinnott. Announcement The nominations certainly warmed up a cold winter morning. But which of these films managed to get ahead in the race and which one was left out in the cold? Read on to check out the biggest surprises and most jaw-dropping snubs from the 2025 Oscar nominations.
Surprise: Demi Moore has “the substance.”
With more than four decades of film work under her belt, Demi Moore finally earned her first Oscar nomination for Best Actress for her sensational work in “The Substance.” Moore goes full tilt in French director Coralie Forget’s latest film as aging Tinseltown star Elisabeth Sparkle, who takes a mysterious anti-aging drug that promises her beauty and success. Turn? A younger, more perfect version of herself emerges from her back for seven days, and takes complete control of Elizabeth’s life, even though the two women are technically the same person. Moore is amazing in the movie. Hilarious, sassy and downright genuine in the way she portrays her role with her experience in a discriminating industry. It’s not just an acceptable nod, but a new chapter for Moore.
SNUB: Marianne-Jean Baptiste falls out of the nail-biting category.
The Best Actress in a Leading Role category has been changing non-stop in the weeks leading up to Oscar nomination morning, and there were three deserving actresses in contention for the all-but-unshakable, eleventh-hour spot: Pamela Anderson, Fernanda Torres. and Marianne Jean Baptiste. . Unfortunately, it was Jean-Baptiste, who wowed critics with her stunning, unforgettable turn in Mike Leigh’s “Hard Truths,” who was ultimately axed. Jean-Baptiste gives a remarkable performance as Pansy, a troubled mother and wife seething with anger and confusion that she doesn’t quite understand. While Jean-Baptiste’s brilliant show was nominated for a BAFTA, it would have been nice to see it for the Golden State side as well.
Surprise: “Knuckle Boys” and “I’m Still Here” tie for best picture
The Best Picture race has been tight for the past few months, and with “Knuckle Boys” and “I’m Still Here” largely absent from major categories among industry voting bodies, it’s a pleasant shock to see them make it to the Oscars. was Competition Although both films have their technical strengths, they are best considered as complete works, stirring in the ways they play with image and memory to stay with viewers long after the credits roll. . While “I’m Still Here” was a shoo-in for the Best International Feature nomination, its inclusion in the main category is a significant win for Brazil, which has only had two other films nominated in that category in Oscar history. are
SNUB: “Challengers” Score Fails to Motivate Oscar Voters
Despite a big win at the Golden Globes earlier this month, Luca Guadagnino’s sex-and-sweaty tennis drama “Challengers,” with Trent Reznor and Atticus Ross’ pulsating electronic score, missed out on a nomination for Achievement in Music, Original. Stayed. score (not to mention that it also failed to win any nods for its kinetic editing.) while other nominated films like “The Brutalist” and “Conclave” had well-memorable arrangements. , there’s no denying that Reznor and Ross’ thumping beats were some of them. The most sensational original compositions in films of the past year. Take a look at social media and you will find it. only about everyone echo that sentiment. Perhaps the slightly pulsating techno was too unorthodox for the more buttoned-up Academy members?
Surprise: Three days after the inauguration, Sebastian Stan was nominated for the role of Trump.
Sebastian Stan has had a historic awards season so far, garnering attention for both “A Different Man” and “The Apprentice,” winning a Golden Globe for the former. But it was Stein’s work in “The Apprentice,” a biopic about the early years of Donald Trump’s career that telegraphed his rise to power in politics, that connected with Academy voters. Late last year, Stan spoke out. Openly about how he was offered a spot by “The Hollywood Reporter” for an “actor-on-actor” talk, which ultimately never happened due to other actors being too careful to talk about Trump. happened If Stein can pull off a win in this category, amid another Trump administration — sorry, Administration – Find an acceptance speech that has the world (and the president) talking.
SNUB: That was really the last show, girl
Gia Coppola’s “The Last Showgirl” was already doing better in this year’s awards race than most people initially thought. The film picked up steam among audiences who finally saw it after dragging its feet to a wide opening, garnering multiple acting noms at the Golden Globes. Perhaps it was the lack of long-term audience buzz that hindered the film’s chances at the Oscars, as it was completely shut out of the nominations. Given that Jamie Lee Curtis had already won an Oscar once and was nominated for a BAFTA for “The Last Showgirl”, some pundits believed that Curtis was a supporting name for Pamela Anderson, the film’s lead character. can leave behind for As it turns out, it wasn’t in the cards for either actress, which is a tough blow for Anderson given the momentum behind her stirring screen return. But on the bright side, Anderson’s success has revived her dramatic career and catapulted her into a new dimension that both audiences and Anderson herself thought she might never reach. Mark my words: This isn’t the last we see of this showgirl.
Surprise: Fernanda Torres is, indeed, still here.
The aforementioned controversial Best Actress race may have brought a major hurdle for Marianne Jean-Baptiste, but it also gave us a big surprise in Fernanda Torres, whose extraordinary performance in “I’m Still Here” Nominated for As Eunice Paiva, the real-life wife of a disappeared Brazilian political prisoner, Torres turns in one of the most revelatory performances of any film of the past year. Looking at her body of work, it’s no shock that she managed to beat out other one-time contenders like Nicole Kidman and even Pamela Anderson. Torres is particularly tough in the face of sudden loss, and holds her family and the film together with a beautiful, motherly love. In that regard, Torres’ nomination is also somewhat poetic. The only other Brazilian actress to be nominated for an Oscar is Torres’ mother, Fernanda Montenegro, who was nominated for “Central Station” in 1999. Extra kismet cherry on top? Both Torres and Montenegro play Eunice Paiva at different stages of their lives in “I’m Still Here.”
SNUB: The greatest achievement in directing is nowhere to be seen
While Brady Corbett is on his way to Oscar gold, the buzz surrounding “The Brutalist,” a film that critics have compared to RaMell Ross’ extraordinary direction in “Knuckle Boys” for “Memorial” What is known as Corbett’s work is certainly admirable, but much of it shines through with little substance at the heart of the film. However, Ross took an unconventional approach for “Knuckle Boys,” shooting the film with a first-person vantage point, meaning viewers can see the film through the eyes of one of the characters. Other directors might have relied on this technique as a gimmick, but Ross used it as a way to peer into the viewer’s soul, directly draining the vitality from his characters. done while he labored in a Jim Crow-era segregated reform school. Florida Ross’ work is unparalleled, especially when compared to James Mangold’s efforts in “A Complete Unknown,” who was nominated instead. Mangold’s film is a straightforward, unremarkable biopic. Ross is a fantastic masterpiece. Despite the Oscars being more global and diverse than ever, it seems Academy voters have yet to drop their pretense when considering truly remarkable work that doesn’t neatly fit into a box.
check Complete list Among the 2025 Oscar nominees.
The 97th Oscars ceremony will air on Sunday, March 2 at 7 pm ET/4 pm PT.
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About an Oscar-worthy work that wasn’t nominated.
