The 2025 Oscar Nominations and Alternative Selections
The announcement of the 2025 Oscar nominations has sparked reactions about the films chosen by the Academy. This year, the nominations reflect a collective response to current social and political themes. Many of the nominated films incorporate stories that align with values of pluralism, equality, and political resistance. The Oscars this year seem to focus on a core set of films that embody these ideals, presenting a unified front.
Among the nominees for Best Picture, notable contenders include “Anora,” which deals with the impact of Russian oligarchs, “The Brutalist,” a story about a Holocaust survivor confronting American greed, and “Emilia Pérez,” focusing on the journey of a trans woman. Other films like “Dune: Part Two,” “I’m Still Here,” and “Nickel Boys” also highlight themes of resistance and social justice, demonstrating a clear preference among voters for films that emphasize relevant issues.
While there is a diverse range of artistic quality among the nominations, it’s clear that the Academy is sending a message about the types of stories it values. Notably, some nominated films, like “Dune: Part Two” and “Wicked,” have proven to be box office successes, indicating a blend of profit and progressive storytelling.
One interesting aspect this year is the nomination of “No Other Land,” a documentary about a Palestinian village, which has not yet received a U.S. distribution deal. Meanwhile, short films like “I’m Not a Robot” and “Incident” from The New Yorker are also in contention, showcasing independent storytelling within the Oscars framework.
The acting categories reveal a stark contrast between established norms and innovative performances. Many of the nominated actors fit traditional molds of professionalism rather than breaking new ground in artistic expression. Demi Moore's nomination for “The Substance” highlights issues of sexism in Hollywood while also illustrating how certain genres, like melodrama, are being neglected in current cinema.
In the international feature category, “The Seed of the Sacred Fig,” by Iranian filmmaker Mohammad Rasoulof, raises questions about how films from oppressive regimes are selected and nominated. As Rasoulof lives in exile, the championing of his work calls into question the Academy's system of relying on official country submissions for nominations.
This year has featured a mix of films, and while there are many elevated works worthy of recognition, it seems that fewer are receiving acknowledgment, especially from the international scene. In my view, it's unclear how many outstanding films may not have been considered due to distribution issues or the timing of their releases.
Best Picture Nominations
“Blitz”
Many nominees reflect bold filmmaking, yet only a few truly stand out. “Blitz,” set against the backdrop of London during World War II, tells the poignant story of a Black child navigating the dangers of a city grappling with both external threats and internal racism. Critics have misinterpreted its emotional depth, reducing it to mere sentimentality. Instead, it presents a complex tapestry of attitudes and experiences, pushing the boundaries of traditional storytelling.
Best Director Picks
Zia Anger’s “My First Film” and Tyler Taormina’s “Christmas Eve in Miller’s Point” showcase distinct directorial achievements. It’s interesting to note how the Oscars often reward the director of the Best Picture, though this hasn't always been the case. Historically, many Best Picture winners have also won Best Director, highlighting the essential role directors play in shaping films.
This year, RaMell Ross's work on “Nickel Boys” stands out for its revolutionary approach to storytelling. The film encourages other filmmakers to challenge conventions and explore their unique perspectives. Jane Schoenbrun's work in “I Saw the TV Glow” also deserves mention for its atmospheric direction and emotional tone.
Best Actor Nominations
Adam Driver (“Megalopolis”)
Ethan Herisse (“Nickel Boys”)
Among the leading performances, Adam Driver captivates with his physicality and command in “Megalopolis.” His Shakespearean soliloquy in the film highlights its grand themes, placing him among the greats of cinematic performances. Conversely, Ethan Herisse brings a delicate yet powerful performance to “Nickel Boys,” embodying the spirit of youth with emotional depth.
Jason Schwartzman and Glen Powell also deliver nuanced performances, with Schwartzman's artistic voice shining in “Between the Temples.” This speaks to the Oscars' broader understanding of what constitutes great acting, beyond traditional styles.
Best Actress Nominations
Maria Dizzia (“Christmas Eve in Miller’s Point”)
Maria Dizzia’s performance is a standout this year, despite the challenges actresses face in commanding the lead roles. With fewer films that allow for dynamic performances, Dizzia's role exemplifies the art of cinematic presence, while other actresses like Joanna Arnow and Carol Kane also deliver remarkable work in their respective films.
Best Supporting Actor Nominations
Jacob Elordi (“Oh, Canada”)
Brandon Wilson (“Nickel Boys”)
In the supporting categories, Aunjanue Ellis-Taylor’s performance in “Nickel Boys” is remarkable for its emotional weight. The breadth of talent continues in this category, featuring outstanding performances that add depth to their films. The excitement of seeing diverse and impactful stories reflected in the acting performances is palpable this year.
Oscars, Nominations, Films