Oscar voting has officially started and will run until February 18th. It’s been another long awards season, and we at Next Best Picture understand that voters might need clarification on which films to vote for with so many worthy nominees. There are several films, performances, screenplays, and technical aspects we’ve appreciated from this year, so we put together a few final 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.
BEST PICTURE – “Conclave”
In a year where there is very little certainty and much doubt, Academy voters should have faith and heavily consider Edward Berger’s gripping and meticulously crafted Vatican thriller “Conclave” for Best Picture. With its tension-filled narrative, razor-sharp screenplay by Peter Straughan filled with exciting twists and turns, and an ensemble cast led by the phenomenal Ralph Fiennes, the film transcends its Vatican setting to deliver a universally resonant examination of power, ambition, and moral complexities of leadership, something we can all agree given the current political state in America is top of mind for most of us right now. Berger, fresh off his Oscar-winning success with “All Quiet on the Western Front,” once again showcases his unparalleled ability to craft tension, immersing audiences in the secretive world of a papal election behind closed doors. With its striking cinematography, a pulse-pounding, electrifying score by Volker Bertelmann, and a politically relevant message, “Conclave” is not just a well-made thriller—it is a profound meditation on faith and the fragile nature of integrity in institutions meant to be sacred. In a year marked by debates over democracy, power struggles, and shifting global ideologies, “Conclave” stands as a film that is both timely and timeless, making it the right vote for Best Picture.
- Matt Neglia
BEST DIRECTOR – Brady Corbet for “The Brutalist”
I don’t think anything could have prepared us for what Brady Corbet had in store with “The Brutalist.” Monumental, a term that has been associated with the film (especially with the marketing), might be insufficient enough to describe all of what Corbet and co. have created here. It’s easy to see why Corbet fought tooth and nail for seven years to bring his vision to life. It’s “epic” through the grandness it elicits yet while being so distinguishably singular. Eliciting a feeling of films from a bye gone era of filmmaking. Something that used to be the norm is now the exception. Even though it’s three and a half hours long, it feels like there are so many ideas packed into it that it’s amazing how they never conflict with one another. The reevaluation of the American dream and the illusions sold to us as opportunity. The inherent struggle of being an artist in a homogenous culture that only takes art at material value. The pieces of one’s identity that many chip away from themselves to assimilate into a country that clearly doesn’t appreciate the uniqueness that they bring to it. On paper, while it sounds exciting, it’s a daunting endeavor that many could not pull off, let alone with the minimal time and resources that Corbet was allotted. “The Brutalist” is a testament to the dedication to seeing a filmmaker’s vision come to life. Corbet is the architect that gives “The Brutalist” the foundation it needs to become the film that is. Also, let’s not pretend that bringing back VistaVision from the 1960s isn’t pretty damn cool.
BEST ACTRESS – Demi Moore in “The Substance”
The horror genre has time and time again been snubbed by Academy voters in the past, but this year’s nominations haul for “The Substance” has been so exciting to see. Demi Moore’s Best Actress nomination for her visceral performance as an aging actress hoping to get her sparkle back is a particularly thrilling one, given how many other wonderful actresses have given their all in horror films, and few have received awards or recognition. In “The Substance,” Moore received a role she’s always deserved, one that allows her to go deep into the female psyche and explore the most complex, painful, and self-deprecating parts of ourselves. The scene where Elisabeth is fixated on her appearance to the point of destruction is a wonderful example of Moore’s genius at work – allowing all those thoughts of doubt to take over until she’s left with nothing. She also shines in other subtle ways, like the way she hides from people outside, how she responds to food, and how every glimpse of herself in the mirror is filled with judgment and hate. Even as the makeup work makes her almost unrecognizable, Moore never loses sight of her character and the difficult feelings she’s harboring inside. While most might be quick to brush off a horror film, what Moore delivers is easily among the best performances of the year. She deserves to be in this Best Actress lineup and to have that gold statuette in her hands by the end of Oscar night. If Elisabeth Sparkle is an Oscar winner, Academy voters must respect the balance and make Moore one as well.
- Ema Sasic
BEST ACTOR – Colman Domingo in “Sing Sing”
It is easy to label “Sing Sing” as a film that is built from the foundation of its performances. Watching a group of actors who share in this true story of a reform program amongst incarcerated inmates is a touching portrait that reveals even more layers for these actors, being able to tap into an inner truth that can be projected onscreen. With that background, one might actually think that Colman Domingo would stick out from the pack. Not in any manner that degrades his own abilities, but more in terms of seeming disconnected from a pack that has a shared experience that he can only pretend to have. The fact that he fits so beautifully within this ensemble speaks volumes to his talents as an actor. Domingo is both a leader and a regular participant in this environment. He may be one of the few professional actors in the cast, but he dedicates himself to being a great scene partner with every individual. He radiates an undeniable warmth with every interaction, creating a compelling screen presence that invites you to watch him with even more curious inspection. What is showcased is a brutally honest depiction of a man whose life is filled with joy but also a crushing disappointment. Few scenes hit with an emotional impact, like when Divine G, his character, sits in front of a parole board and must reckon with the notion that his potential freedom may have been put in jeopardy because the program he takes such pride in casts doubts about his sincerity. The look of shock, confusion, anger, and suppressed disappointment are all communicated in his flustered actions, which leads to the heartbreaking catharsis a few scenes later. Colman Domingo can make you smile with jovial energy while also tapping into a powerful emotional core that is completely devastating. He embodies a layered character wholly engrossing in a manner that only he can express so tenderly and delivers the best leading actor performance of the year.
- Josh Parham
BEST SUPPORTING ACTRESS – Ariana Grande in “Wicked”
When Ariana Grande was cast as Glinda the Good in the much-anticipated film adaption of “Wicked,” a lot of heads turned. For sure, the Grammy award-winning artist was not the public’s first thought. Even with musical theater and acting roles (she made her Broadway debut at age 15 and appeared on two Nickelodeon shows in her teens), she had dedicated the last decade to pop music. But the property of “Wicked” was always alive and well in Grande’s career, who performed at several “Wicked” events and was featured on both original Witches Kristin Chenoweth and Idina Menzel’s individual albums. It is apparent that “Wicked” means a great deal to Grande. As Glinda (formally Galinda), Grande plays homage to Chenoweth and Billie Burke while also remaining true to Jon Chu’s vision. She is both comedic and cathartic as the privileged wannabe sorceress who learns the value and power of friendship in “Wicked” (Part 1). She is just as silly as she is sincere as she is tragic. It is a very fine line to navigate, and Grande does it exceptionally. As Grande said, holding back tears, when she got the role, “I’m gonna take such good care of her.” And she did in spades. Grande transformed her body, her voice, her movement, and her mannerisms for the role and is the perfect narrator for this version of “Wicked.” It seems as if Glinda has re-awakened a passion for acting in Grande, and while we cannot wait to see where she goes next (of course, we all cannot wait for “Wicked: For Good”), it would be incredible to see her be rewarded here. We all know that Elphaba is a Tony-award-winning role, but it would simply be wonderful if Glinda was an Oscar-winning one.
BEST SUPPORTING ACTOR – Yura Borisov in “Anora”
When it comes to awarding male acting ability, the Academy seems most drawn to loud histrionics and we-barely-recognized-him transformations. This year’s Best Supporting Actor lineup is no different but for one notable exception. Yura Borisov’s performance in Sean Baker’s masterpiece “Anora” is a direct repudiation of the types of showy, over-the-top work typically delivered by our male divas. In fact, he’s surrounded in his own film by hyperbolic characters that are right in line with the movie’s propulsive, unstoppable energy, which makes it even more impressive that he stands out as much as he does. Borisov plays Igor, a stoic Russian henchman who says little but clearly feels a lot. He’s by far the most compassionate character in the film (his repeated bit of insisting that the titular Ani where a scarf is beyond charming). And his grounding presence is an essential contrast to the film’s unceasing high-octane spirit. The film’s final scene – by far, its most impactful moment – doesn’t work without his committed, earthbound performance. This is to say that the movie itself wouldn’t work without Borisov. A vote for him is an endorsement of the very success of “Anora” and a sign of approval for understated, lived-in performances, which are even more difficult to pull off than more ostentatious ones.
BEST ANIMATED FEATURE – “Memoir Of A Snail”
Unlike the other nominees for Best Animated Feature this year, “Memoir of a Snail” isn’t very colorful. The brown and black color palette gives the film a drab look that matches its pitch-black humor and pervasive sense of melancholy. You’d think it would be a slog, but Australian claymation master Adam Elliot has a knack for portraying the darker side of life with a light but still potent touch. Elliot’s unconventional design sensibility can be a barrier to entry, but if you give him the chance, he will break your heart in the most beautiful way. His story of a twin brother and sister living through a series of incredibly unfortunate events represents the most mature storytelling of the nominated films, a bleak tale that ends on a note of life-affirming beauty. Sarah Snook’s emotive vocal performance makes poor Grace Pudel a heroine everyone can root for because we can see ourselves in her, even if she’s made of clay. The miraculous gut punch of an ending makes this one of the year’s most emotionally overwhelming films, one that reminds us all that it’s never too late to turn things around and make a change for the better. A genuine original with a powerful message that will give you a good cry – what more could you want from an Oscar winner?
- Dan Bayer
BEST DOCUMENTARY FEATURE – “No Other Land”
“No Other Land” weaves a deeply personal and poignant narrative about the Palestinian community’s ongoing struggle against displacement. Its unflinching portrayal of the human cost of oppression witnessed through the eyes of those affected creates a film that is both necessary and urgent in today’s political climate. The film’s bravery is evident not only in its subject matter but in the conditions the filmmakers endured to capture the story, reflecting an undeniable act of courage. “No Other Land” captures the complexity of this conflict with urgency, offering a perspective that shouldn’t be ignored. It’s one of the most essential documentaries of our time.
BEST INTERNATIONAL FEATURE FILM – “I’m Still Here”
A large part of the reason why Walter Salles’ historical thriller “I’m Still Here” works so brilliantly is the time he takes with character. Rather than diving head first into the political ramifications of his powerful story set in 1970s Brazil, Salles instead chooses to disarm us by introducing us to the Paiva family at play, whether it’s a day on the beach with friends or a hilarious dance party at night. What comes through is the love that this family has for each other, and there’s no bond greater than that between parents Rubens (Selton Mello) and Eunice (Fernanda Torres). Still, you may wonder when Salles is going to begin telling his story without realizing that these scenes are key to his narrative payoff. When Rubens is suddenly snatched away by the Brazilian dictatorship and forcibly disappears, we achingly feel the absence of this devoted father and husband in a way that we never would have had we not been given the chance to fall in love with him as well. Clearly, answers to her husband’s disappearance are needed, and that’s when Eunice steps up, determined to get her husband back without endangering her family. That’s also when Torres grabs this movie by the horns and runs with it, delivering a fully-dimensional performance of a woman who must dig down deep to summon the courage to do what she can to protect the people she loves. “I’m Still Here” masterfully weaves a powerful political warning about right-wing authoritarianism (that’s all too relevant today) with an emotionally charged family drama that helps to make this one of the year’s very best films.
- Tom O’Brien
BEST ADAPTED SCREENPLAY – “Nickel Boys”
Leading up to this year’s Oscar nominations, there was some doubt about how RaMell Ross’ acclaimed narrative feature directorial debut, “Nickel Boys,” would fare with the Academy. While it was left out of Best Director and Best Cinematography (among other categories), it managed to receive nominations for Best Picture and Best Adapted Screenplay, deservedly so. Ross (alongside co-writer Joslyn Barnes) adapted Colson Whitehead’s Pulitzer Prize-winning book, “The Nickel Boys,” into a film unlike anything I’ve ever seen — and that’s definitely a good thing in today’s stale cinematic landscape. What Ross and Barnes have accomplished is an astonishing marvel, as the shifting perspectives between its Black characters encapsulate so much history, pain, and viewpoints audiences may not be already accustomed to. It’s an ingenious concept that could have become a gimmick in other writers’ hands. The perspective changes are jarring at first, but intentionally so, as this enables the viewer to connect more with the principal characters. We are, almost literally, in their shoes, seeing the world as they see it, and Ross and Barnes should be awarded for their ability to capture the essence of the novel (and its characters) through a screenplay written through multiple perspectives with such singularity. Like the finished product, the script is extraordinarily detailed, both in terms of what the characters (and, in turn, we) see and how they experience the world around them. A win in this category would be a great way to recognize Ross’ exemRoss’ achievement, especially considering his direction similarly deserved recognition.
BEST CINEMATOGRAPHY – “Nosferatu”
High expectations preceded the reveal of Count Orlok (Bill Skarsgård) in Robert Eggers’s long-awaited “Nosferatu.” Would the nightmarish creature and gothic romanticism translate onto the screen? Eggers reimagines a tale as old as time with a vision so crystal clear that it’s no mystery why the film features many of the director’s long-time collaborators. From costume designer Linda Muir and editor Louise Ford to production designer Craig Lathrop and director of photography Jarin Blaschke, in Eggers they trust. From the level of detail he and his team pour into each production, one can’t help but feel totally immersed and transported to another world, and “Nosferatu” is the most striking example yet. With four Oscar nominations (including cinematography, production design, costume design, and makeup & hairstyling), giving a boost to any of these selections would be a worthy endeavor. But when it comes to celebrating the overall experience and atmosphere of “Nosferatu,” the work of DP Jarin Blaschke feels particularly special. Count Orlok’s introduction resonates precisely because of the visual ambiguity. Dancing in shadow and light, Blaschke captures a truly disorientating experience that establishes the tone and plays on the viewer’s perception of time. This breathtaking sequence and the moonlit carriage ride to Orlok’s castle that precedes it are among countless examples to cherry-pick from Blaschke’s stunning work. From the film’s chilling opening frame to the illustration-inspired daylight break finale, “Nosferatu” evokes something so otherworldly while driven by historical period research. Much like Eggers’s direction, each and every detail in Blaschke’s cinematography carries meaning. The beauty is in the imagery, making Best Cinematography an especially worthy place for voters to award “Nosferatu.”
BEST ORIGINAL SCORE – “The Wild Robot”
As robot-turned-mother Roz places her young gosling on her shoulder, giving the bird a boost as he joins his migration, Kris Bowers’ unforgettable score for “The Wild Robot” winds up. With an instantly iconic melody played by soaring strings and pounding percussion, this score amplifies the unique pains and pride that come with watching your kid grow up and go off on their own. Few scores in any year give us such memorable moments that stay in our heads long after the credits roll. Yes, “The Wild Robot” is a remarkable work of animation, deserving of recognition in the Animated Film category, but Bowers’ score deserves to come along with it. Bowers may have won an Oscar just last year for Best Documentary Short, but it’s time the Academy recognized his work as one of the most exciting composers in the industry.
- Daniel Howat
Thank you for considering these contenders in your Oscar voting. For those who are not voting, what would you like Academy voters to consider for the Oscar win? Please us know in the comments section below or on our X account and be sure to vote on your own 97th Academy Award winners ballot here and check out our latest Oscar predictions here.
