Oscar nomination voting has officially started and will run until January 12th. It’s been a long awards season, and we at Next Best Picture understand voters might need some assistance on which films, performances and crafts to vote for with so many worthy contenders for the 97th Academy Award nominations. So, we put together a few FYC pleas down below just in case any Academy members happen to read this with their empty ballots in hand looking to make a final decision on who or what to vote for regarding this year’s Oscar nominations.
Best Director – Payal Kapadia for “All We Imagine As Light”
There’s a great strength to directing that doesn’t always come from creating huge spectacle and flamboyant sequences. Sometimes, the quieter moments are just as impactful. It is a great skill for any director to examine events that could be perceived as relatively mundane and find a rich, textured world to unearth. Payal Kapadia showcases what seems to be the simple lives of a group of women in her film “All We Imagine as Light.” Their hardships are important topics, but they don’t appear to have the highest stakes, which will lead to significant consequences. Still, that doesn’t mean her eye can’t find the grand emotion present in every moment. The intimacy that Kapadia crafts is incredibly soulful and endearing, finding the small moments that reverberate deep within these characters. She makes every passing conversation a deep introspection into these relationships, mining a rich commentary on the longing for connection and self-fulfillment. Her filmmaking serves as an invitation to become immersed within a world that may speak with a soft tone but has an internal strength that is powerful. In a year with many bold and stylized visions, Payal Kapadia offers a more subdued perspective that wholly envelopes the audience in the personal lives of these rich characters. The examination of female desire, both physical and emotional, is moving, insightful, and beautiful.
- Josh Parham
Best Actress – Angelina Jolie in “Maria”
It’s kind of weird that I feel inclined to write about this. On paper, everything should make sense. Angelina Jolie has returned to leading lady dramatic work as the final installation of Pablo Larraín’s trilogy. It seems to guarantee an instant hit and subsequent awards acclaim. However, as the season went on, Oscar Winner Angelina Jolie was left off the Best Actress ballot numerous times. What was once considered a lock for a third Oscar nomination now seems to hang in the balance. Which…feels weird, even with the competitive slate of this year’s Best Actress competition. As Maria Callas in “Maria,” Jolie disappears into the dying star who is still searching for her voice in her final moments. It is undoubtedly one of Jolie’s best performances, if not her best performance to date. Jolie can brilliantly play to the duality of one being at peace with their limited time on Earth yet being steadfast enough to fight for one more second. “Maria” provides Jolie a rare opportunity to flex her acting muscles that have been laid to rest for almost a decade. Additionally, the film and subject matter, a supernova Diva whose image and persona have taken a life of their own in the public eye in search of her voice, is incredibly relevant to Jolie’s current path in life. Both of Larraín’s other films within the trilogy have earned Oscar nominations, including securing nominations for its previous leading actresses, Natalie Portman and Kristen Stewart. And having Jolie play a real-life person definitely increases the Oscar winner’s chances to secure a nomination (she would be the only actress this year who, in fact, plays on), yet she couldn’t even win the Golden Globe where this year’s Best Actress heavy contenders were not in direct competition with her, which only highlights Jolie’s current weakness within voting parties. Even though “Maria” may not be as prominent as “Jackie” or “Spencer,” it is still a beautiful film about a woman reclaiming her narrative, and Jolie elevates the material. “Maria” is a celebration of the female artist, the divine female, and Jolie perfectly embodies that. Therefore, having her miss out on nomination morning would be a very bitter taste to the film’s narrative and Larraín’s trilogy as a whole.
Best Actor – Sebastian Stan in “The Apprentice”
In a career that could’ve rested on the laurels of the MCU, Sebastian Stan has proven time and time again that he’s willing to take risks and push himself into new and exciting territory as an actor, even if it comes as a consequence of his professional career. No greater example of this exists than his intensely rich and surprisingly nuanced portrayal of Donald Trump in Ali Abbasi’s “The Apprentice.” Tackling such a polarizing figure is no small feat, but Stan avoids caricature and parody, crafting a portrayal that is eerily restrained, chillingly believable, and deeply transformative. His work is not just an imitation but an embodiment of a man whose ambition and narcissism are molded under the mentorship of Roy Cohn (also brilliantly inhabited by Jeremy Strong) and the shifting landscape of America at the time of his ascension into something genuinely monstrous precisely because of how much it embodies all of the capitalist evils found within the foundation of our country. The gradual evolution into the Trump we know today is remarkable, for at the beginning of the film, Stan’s Trump is enterprising but naive, a young real estate mogul yearning for recognition and success. Through his interactions with Cohn, Stan’s Trump absorbs and internalizes Cohn’s ruthless philosophy: attack relentlessly, deny accountability, and always claim victory. This transformation unfolds subtly yet profoundly, with Stan nailing Trump’s body language, speech patterns, and facial expressions in ways that feel authentic without slipping into mimicry. By the film’s end, Stan’s Trump is a completely different person—his mannerisms, tone, and even physicality darkened by his adoption of Cohn’s worldview. Some viewers were apprehensive about engaging with the film, and thus, they might’ve missed out on Stan’s thoughtful work. However, those who have seen it know how unsettling and impactful it is while still allowing for moments of humor, vulnerability, and complexity. It offers us not so much an empathetic look into the heart of a self-absorbed narcissist but a window and a mirror into how this man came to be who he is and why that is so eerily reflective of so many other Americans today, whether they want to admit it or not. With this immersive, fearless performance, Stan not only carries “The Apprentice” but makes a compelling case for being one of the year’s best actors, as his other leading work in “A Different Man” is also worthy of praise and celebration. After being overlooked for most of the season because some felt this performance “hit too close to home,” I’m delighted to see some voting bodies have chosen to recognize it, and now, it’s the Academy’s turn to do the same.
- Matt Neglia
Best Supporting Actress – Selena Gomez in “Emilia Perez”
In a year when everyone is calling category fraud over who is a co-lead, let’s not overlook a great supporting performance from one of this year’s most unique films: Selena Gomez in “Emilia Pérez.” The former Disney child star has been turning out great work in recent years, including her sarcastic and witty comedy in “Only Murders in the Building.” Still, she really flipped the page with Jacques Audiard’s bold Spanish language musical. As Jessi, Gomez has to ride many emotional waves of her character’s life, like facing the deepest pits of despair when her beloved is announced dead and having to start anew when she returns to Mexico. She may not have much screen time, but each time we check in with Jessi, we feel her energy all because of Gomez’s work. Whether it be heartbreak over her past life, rage over her new circumstances, or excitement over an old flame reentering her life, her nuanced and layered performance brings to life the story of a complex woman. This easily could have been an easily forgettable role in the hands of someone else, but Gomez brings so much to the table. On top of all of that, she takes on physically demanding choreography and vocals in her tantrum-filled “Bienvenida” musical number and shares intoxicating chemistry with costar Edgar Ramirez in their “Mi Camino” karaoke scene. It’s exciting to see Gomez continuously take on new, exciting, and challenging roles, and “Emilia Pérez” is truly a highlight in her already impressive career.
- Ema Sasic
Best Original Screenplay – “Hard Truths”
Mike Leigh has perfected the art of improvisational storytelling. For each of his films, he draws on close collaborations with extraordinary actors to find lived-in characters and worlds. “Hard Truths” is one of his most impactful films yet, embracing a tormented character at every painful turn. Since premiering at the Toronto International Film Festival in 2024, the film has found consistent awards recognition for Marianne Jean-Baptiste’s lead performance. Jean-Baptiste recently won the Best Actress trifecta from the National Society of Film Critics (NSFC), the New York Film Critics Circle (NYFCC), and the LA Film Critics Association. In addition to her brilliant performance, Leigh’s screenplay delivers on three-dimensional complexity and makes the process look effortless on screen. The protagonist, Pansy (Jean-Baptiste), haunted by her pain, picks fights with her surroundings, from loved ones to strangers. Leigh meets this character with incredible patience and understanding. His collaborative spirit and attention to detail give Jean-Baptiste and the entire ensemble of actors room to explore all the relationship dynamics truthfully. He brings so many compelling layers to the surface that it would be reductive to try and sum up what the film is about. It’s honestly nothing short of a profound experience. Leigh integrates humor organically into the every day, letting comedy and tragedy resonate in equal measure. With more eyes on “Hard Truths” now, hopefully, the film will find a warm embrace from Academy members. The film would mark Leigh’s eighth Oscar nomination, bridging a nearly 15-year gap since his previous original screenplay nomination for 2010’s “Another Year.” Leigh himself had a six-year hiatus from the big screen until returning with “Hard Truths.” Recognition for his all-encompassing writing here would be a richly deserved welcome back.
Best Cinematography – “Nickel Boys”
What exactly makes cinematography awards-worthy? If the camera – the most essential filmmaking tool – is used in new and innovative ways, then there’s no film this year more worthy of Best Cinematography than “Nickel Boys.” In his feature debut, RaMell Ross boldly shoots the film entirely from the first-person perspective, initially from the viewpoint of one main character before adding in an additional one. It’s a decision that turns an already sympathetic story of oppression and the longing for freedom into an exercise in immediate empathy, forcing the audience to identify with the characters and quite literally inhabit their headspace. To accomplish this, director of photography Jomo Fray’s camera is given life, channeling the on-screen experiences into something akin to an implanted memory conjured up for the audience’s reflection. There are several moments where it’s difficult to even comprehend the existence of the camera used to capture the story, as the film boldly shoots reflective surfaces without ever showing any indication of the cinematic reality of its own existence. And if some voters consider Best Cinematography as a reward for creating beautiful screen images, “Nickel Boys” also has those in abundance. In particular, the single image of both central boys, which figures prominently in the film’s marketing, is compositionally beautiful on its own and thematically powerful in context. It’s not even clear in that moment which of the two characters’ perspectives the film is inhabiting, making visual the themes of camaraderie and the ability of solidarity to overcome hardship. “Nickel Boys” is a triumph of storytelling that represents a new standard in empathetic filmmaking, and Jomo Fray’s cinematography is some of the most awards-worthy work of this, or any, year.
- Cody Dericks
Best Makeup & Hairstyling – “Nosferatu”
As soon as Robert Eggers approached the marketing for his iteration of “Nosferatu” by hiding the appearance of everyone’s favorite bloodsucker, we should have known that Count Orlock was going to look immaculate. Of course, we mean it in terms of the outstanding makeup work applied to helping Bill Skarsgård transform into one of the more vile yet hypnotic creations we’ve seen on screen all year. Count Orlock looks so delightfully repulsive, bound by all of his wrinkled glory. It’s an impressive feat by the makeup team to help bring to life a version of The Count that, despite having rotting flesh and a Zapata mustache, there’s still an inkling of desirability that must literally reek off of him. It’s a beautiful symbiosis achieved by what Skarsgård can portray with his physicality alone and the period-detailed prosthetics that cover his whole body (and yes, we mean whole body). So often, the conversation around prosthetic makeup when it comes to recognition with awards bodies is often sidelined whenever it’s tied to horror films. That should most definitely change this year because when you see what this makeup team did with Skarsgård, you’ll break your neck doing a double take whenever you see him for the first time. It’s cliche to say that the actor “disappears” into the role, but if audiences watch this with no idea that Skarsgård is playing Count Orlock, they’d never know until the credits rolled.
- Giovanni Lago
Best Production Design – “The Substance”
When you think of Best Production Design, you think of memorable sets and props. Has any film this year been more jam-packed with memorable sets and props than “The Substance”? From that impossibly long hallway covered in old posters tracking Elisabeth Sparkle’s career, with its Overlook Hotel-inspired carpet, to her gorgeous apartment that seemingly hasn’t been redecorated since the ’80s (much like her workout show), with its bright white-tiled bathroom that eventually hides a dark, empty secret room in which she can hide herself during the “off” weeks when Sue takes over, everything in Coralie Fargeat’s expressionistic body horror film has been impeccably designed to evoke a feeling. As the spaces change to become more of a reflection of her inner life, they become even more memorable, with old newspaper covering up the full-length windows looking at Sue’s billboard, rotting food stinking up the place, and a bird’s-eye view of her shower in which it seems to extend into the heavens themselves when Elisabeth is at her lowest, crumpled in a depressed mess on the floor. Who needs dialogue or a montage of Elisabeth sitting in her one chair all day when you can show the audience the indentation she left in it from never getting up? All of that would be enough to make “The Substance” a worthy nominee in this category, but then there’s the film’s coup de grâce – the packaging of the titular product itself. A dead-on recreation of the minimalistic, intuitive design and instructions embraced by most tech companies, which has slowly seeped out into the rest of the world, is the year’s single most ingenious piece of production design. Much like the film itself, the packaging of The Substance is both familiar and alien at the same time, perfectly fitting into Fargeat’s funhouse mirror vision of Hollywood. “The Substance” is one of the year’s most colorful, sleek-looking films, and the production design is a highly memorable part of the film’s overall success. And if that’s not deserving of an Oscar nomination, then I don’t know what is.
- Dan Bayer
Best Original Score – “Challengers”
When talking about her prep for “Challengers,” Zendaya confessed she learned her tennis court moves not by studying how to play tennis but by treating it as choreography for her body to memorize –– as dance. With a thrumming techno-jam score by Trent Reznor and Atticus Ross that seems to echo from inside the character’s heads and onto the tennis court, Zendaya’s words were apt: the whole film plays as a tightly choreographed dance unto itself. While it’s been celebrated or dismissed as the most club-ready score this year, that overlooks how penetratingly expressionistic the music actually is, with Reznor and Ross’ suite of danceable electronica dictating both feel and structure. Club beats will suddenly erupt mid-dialogue to tell us when passions flare to anger or, earlier, arousal, like when the hypnotic slow chords of “L’oeuf” become a beachside aphrodisiac while Art and Patrick lust after Tashi in surf twilight. We volley through multiple timelines via various tennis matches and taboo liaisons years apart, sometimes in seconds, and it’s not just visual clues that orient us but the recognizable signature of a 90s house-synth motif. It’s a score that builds and builds, gaining new depths and densities with each reprise, interrupted only by the staccato-like structure of Justin Kuritzkes’ non-linear screenplay. The effect is a feeling of built-up energy in need of desperate release, supercharging a finale of psychosexual catharsis as three lover-haters finally consummate their rapturous bonds, with Reznor & and Ross’ rave symphony in full climax.
- Brendan Hodges
Thank you for considering these contenders in your Oscar nomination voting. For those who are not voting, what would you like Academy voters to consider for the Oscars? Please us know in the comments section below or on our X account and be sure to check out our latest Oscar predictions here.
