Oscar nomination voting has officially started and will run until January 16th at 8pm ET. 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 98th 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 Picture – “The Secret Agent”
“The Secret Agent” has slowly built buzz since its Cannes premiere and its two big wins at the festival for lead actor Wagner Moura and director Kleber Mendonça Filho. Now in mostly wide release, at least in the States, Filho’s rich portrait of seventies Brazil under dictatorship has rightfully become one of the buzziest titles of the year. The slightly surreal, fully lived-in world is so detailed in recreating the time period, populated by textured, natural, and lived-in performances that fill Armando’s meditative and transportive journey into the past to uncover what its memory says about our present. It is one of the great directorial feats of 2025, one that constantly rewards repeat viewings as you uncover another new layer to Filho’s craft. Wagner Moura as Armando channels both the charisma and emotion of a classic seventies film star, while still creating something wholly his own, making him one of the most magnetic screen presences of the year. Its depiction of how the government and law enforcement manipulate the media and public perception is not only intelligently presented but obviously incredibly and tragically timely. Hopefully, the buzz that has built for the film since Cannes and has only grown wth more wins and exposure from festival and theatrical audiences all over the world (most notably in Brazil) will only be further boosted by what can only be described as deserved recognition from the Academy, not just in Best International Feature Film but in Best Picture of the year.
- Ben Langford
Best Director – Jafar Panahi for “It Was Just An Accident”
If you thought Jafar Panahi had reached the limits of his courage as a filmmaker, “It Was Just An Accident” proves the daring filmmaker is still just as vital as ever, operating at the peak of his career. Panahi has spent decades under the Iranian government’s scrutiny, banned, imprisoned, and surveilled, yet he continues to make films that are bold, necessary, and morally urgent. In this Palme d’Or-winning thriller, Panahi channels his rage into a tightly controlled story that explores justice, vengeance, and the consequences of action in a world that has long been denied fairness. The film begins with a seemingly banal incident. A man driving with his pregnant wife and young daughter accidentally hits a dog on a dark road. This small moment triggers a chain of events that leads Vahid, a survivor of state-sanctioned torture, to believe the man is the official responsible for his suffering. He kidnaps him in pursuit of revenge, setting up a thriller that is also an ethical meditation not just for these characters but for Iran as a whole, as Panahi grapples with what the fate of his country will be someday. Certainty is never granted, and every act of aggression forces the characters and the audience to confront the moral cost of vengeance. Panahi’s direction is meticulous and commanding. Wide shots and long, unbroken takes allows the tension to build naturally, giving the actors space to explore their trauma and doubts. The film’s climactic sequence, a thirteen-minute plea for life by the phenomenal Ebrahim Azizi, is unbearable in its moral and emotional intensity. “It Was Just An Accident” frames revenge not as catharsis but as a trap, forcing us to question the line between righteous anger and cruelty. With the threat of another imprisonment looming over him upon his return to Iran following this awards season run, Panahi has given us another masterwork that is suspenseful, morally exhilarating, and wholly necessary, demonstrating that his voice remains as strong and essential as ever. To see him go unrecognized this awards season would be criminal.
- Matt Neglia
Best Actress – Amanda Seyfried in “The Testament Of Ann Lee”
In a year filled with remarkable performances by women, I can’t think of one that is quite as risky and ultimately transcendent as Amanda Seyfried’s in Mona Fastvold’s extraordinary musical reverie, “The Testament of Ann Lee.” In what could have been a straightforward biopic of the founder of the 18th century religious sect The Shakers, Seyfried, inspired by the vision of Fastvold and the music of composer Daniel Blumberg, creates in Ann a young woman looking for enlightenment, but unable to find it in either her church (which has little use for her) or in the arms of her loving but entitled husband (Christopher Abbott) whose unusual sexual desires leave her unfulfilled. Instead, she discovers it in the bosom of those around her who love God but are searching for a faith not built on suffering. With them, she finds herself touched by God and compelled to use her natural charisma to carry the message with such a fervency that her congregants’ bodies begin to shake as they dance in worship. In another actor’s hands, Ann’s transformation into an exuberant leader of such a religious sect could come across as forced, or even ludicrous. Never so with Seyfried. Even when her divine inspiration leads to physical moments of unbridled ecstasy, the actor remains in complete control of her craft, using her expressive features to convince us of the genuineness of her character’s convictions. In the film’s most striking sequence, Seyfried conveys the agony Ann endures as she painfully delivers four children, none of whom survive, amid a cacophony of singing, anguish, and grief, a sound that shades her carefully layered performance throughout the film. Even if we may find it difficult to reconcile our own belief system with that of Ann’s, Seyfried convinces us that Ann truly believes it herself, and in so doing, she achieves it with a combination of skill and grace that sets her apart in this most competitive year and makes her most worthy of your consideration.
- Tom O’Brien
Best Actor – Joel Edgerton in “Train Dreams”
Leading a film defined by quiet tranquility and stillness in nature is perhaps one of the toughest acting challenges an actor can face. To animate the inner consciousness of an ordinary man requires incredible restraint and, in lesser hands, can slip into overt emotionality or fall flat with tiredness. Not with Joel Edgerton in “Train Dreams,” though. Edgerton understands that the drama lies not in what is said, but in what is endured. He allows Robert Grainier’s interior world to surface gradually, borne by the weight of his posture, the stillness of his gaze, and his absorption of the world around him. The heaviness of his character’s tragedies serves as both a footnote woven into the fabric of his performance and the entire universe on screen all at once. By the end, his performance feels less like a portrayal than a presence; one that is devastating, comforting, and deeply human. As William H. Macy’s Arn so succinctly put it, it’s “beautiful, ain’t it? All of it. Every bit of it.”
Best Supporting Actress – Oona Chaplin in “Avatar: Fire And Ash”
On one hand, having a film released at the end of the year has the significant advantage of being the last film seen by voting members. This has been the route of a James Cameron production for the last 30 years, and it works for big categories like Best Picture (we know the rule: never doubt Big Jim). But in some categories, there are disadvantages, since some artists don’t have the opportunity to build a campaign that comes with the luxury of a festival circuit or a fall release. By mid-December, top 10 lists are already camped, and narratives are put in motion. It is not impossible to break that list and take a slot in the five, but it is uncommon. “Avatar: Fire and Ash” has proved — once again — that Cameron still has it and will probably never lose it. In the third installment of the “Avatar” saga, “Avatar: Fire and Ash” takes a mature and darker tone, and that has everything to do with the introduction of the Ash tribe — the Mangkwan clan — and their pelvis-forward, fire-obsessed leader, Varang (Oona Chaplin), who Chaplin portrays with equal amounts of anger, fascination, and madness. And it is impossible to look away. From her opening strut, Chaplin brings Varang’s intense danger to life. Her movements showcase the weaponization of her sexuality and being, where she uses her own kuru to torture others after capture. The audience is both mesmerized and frightened by Varanag in an instant — we can tell this is a strong, powerful, and dangerous Na’vi. Still, we can also tell that there was a deep trauma that led her down this path, which was the destruction of her home by the very thing she now worships. This adds a complex layer to Varang, whose demand for power and control guides her. And there is something freeing about watching this Na’vi woman simply take whatever she can get and leave nothing in return (and take great pleasure in these acts of piracy). But there is also an intense curiosity to her as she allies with Quartich and discovers firearms. The way Chaplin slows her movements as she studies and observes these weapons is terrifying and mesmerizing. She is equally fascinated, afraid, captivated, and attracted, which is all conveyed through Chaplin’s performance. James Cameron could have easily written a simple antagonist for our heroes. Still, he decided to write Varang as a leader who turned her back on Ewya, and Chaplin decided to play her so intensely from start to finish that the audience has no other choice but to root for her. Much like the other characters in the film, we fall at her knees. There is a part of us that wants to watch her burn the world down. This year has been great for actors in genre films (there may be three performances in a horror film nominated this year). But the Academy’s genre bias against science fiction remains strong, and there has yet to be a single acting nomination for performance capture. The Academy has an opportunity, especially given the full-circle moment, to continue, honor, and propel Charlie Chaplin’s legacy, which is so vital to storytelling through moments, with her performance as Varang. Chaplin is on fire here. It is as simple as that. Verang is the soon-to-be most popular Halloween and Drag costume of the year (much like Aunt Gladys), which shows how beloved she is in the general culture and easily joins the ranks of other great Cameron girls like Sarah, Ripley, and Neytiri. The Academy has already overlooked Andy Serkis and Zoe Saldana for their performances utilizing performance capture, and if there is any performance to break that glass ceiling, it’s Oona Chaplin’s.
Best Supporting Actor – Delroy Lindo in “Sinners”
When you think of a celebrated actor who has been overlooked for the great performances they’ve given throughout a storied career, Delroy Lindo floats near the top of that list. Like the best character actors, it’s easy to take them for granted. They can slip into a diverse selection of roles and are always a reliable member of the ensemble. But when it comes time to highlight their singular achievements, the years consistently pass them by. The sting of his omission from the Best Actor lineup for “Da 5 Bloods” is sharply felt to this day, a monumental achievement that deserved recognition. That didn’t mean his work had diminished in that time, and his appearance in “Sinners” is another captivating showcase. The beauty of his performance is how many shades of this character he brings to life, each so endearing. His introduction is littered with humorous asides of a crotchety old man that can’t help but be a delightful presence, letting his cantankerous energy shift to jovial exuberance when an alcoholic incentive is introduced. Yet, that somewhat jolly spirit helps to obscure the deep pain that has festered within, scarred by the history of racial violence that became infused with his musical philosophy. His recollection of a lynching that transforms his traumatic sorrow into a euphoric demonstration of the power of blues music is a powerful scene. In a short amount of time, he brings devastating heartbreak and soulful yearning to full effect. His screen presence is engrossing throughout the film, a fixture that commands the room, even when he’s a small player within it. Lindo has been such a fantastic performer across so many incredible works throughout the decades, so his performance here is not an anomaly. Rather, it’s yet another example of his prowess to create compelling characters that elevate an already successful endeavor, which is why he is completely deserving of finally being recognized for his achievements.
Best Adapted Screenplay – “No Other Choice”
Park Chan-wook is simply one of the most creative forces working in film today. With each of his movies, he manages to innovate, whether it’s the inventive violence of “Oldboy,” the boundary-pushing sensuality of “The Handmaiden,” or the inimitable visual flourishes of “Decision to Leave.” With “No Other Choice,” he’s crafted another ingenious film that’s both entertaining and reflective of the difficulties of our modern world. Based on Donald E. Westlake’s 1997 novel “The Ax,” Park (along with co-writers Lee Kyoung-mi, Don McKellar, and Jahye Lee) shifts the story’s perspective from 20th-century America to contemporary South Korea, and the adaptation works perfectly. The screenplay smoothly folds in aspects of our current world, such as social media and AI, blending them into a perfect satire of our fast-moving, impersonal modern society. The main character’s ruthless (yet hilarious) quest to climb to the top of the pile of potential hires for a job – by any means necessary – is the perfect biting metaphor for the way that our profit-minded, capitalist world can force people to abandon their morals in favor of beating out the competition. The screenplay is timely, funny, upsetting, and perfectly attuned to Park Chan-wook’s artistic interests.
- Cody Dericks
Best Original Screenplay – “Sorry, Baby”
The markers of a great screenplay are not just about words on a page. “Show, don’t tell” is one of the golden rules of screenwriting, after all. Eva Victor masters the art of showing and telling in their outstanding feature debut, “Sorry, Baby.” Victor’s singular voice expands on the subjects of trauma and sexual assault by depicting grief as a circular journey. Telling the story of Agnes (played by Victor), an English professor left stagnant in the aftermath of what happened to her, “Sorry, Baby” defines the character through moments of healing. Victor structures their screenplay into non-linear chapters, from “The Year with the Baby” to “The Year with the Bad Thing,” each one punctuating a remarkable tonal balance between humor and sadness. Victor navigates how Agnes experiences life before, during, and after the assault, without ever showing the assault itself. It’s how we see Agnes emerge from the bad thing, on her drive home, that stirs the emotion. It’s how Agnes heals, through love and friendship (and a new cat), that defines the story. Victor emphasizes believing Agnes without seeing what happens; her words are enough, and she shares on her own terms. There are several moments throughout “Sorry, Baby” that feel like warm hugs from Victor, reassuring us that we are not alone. Sometimes, bad stuff just happens, and we can’t stop it from happening. The good part is that we can still show up for one another, even in the smallest gestures. “Sorry, Baby” is a masterclass in true-to-life storytelling that deserves recognition for the way it leaves an imprint on your soul. Every bit heartwarming as it is heartbreaking, it’s one of the year’s most honest films, and Victor’s original screenplay highlights all the reasons why.
- Nadia Dalimonte
Best Documentary Feature Film – “Come See Me In The Good Light”
This documentary, directed by Ryan White, is extraordinary. Despite not seeing it until it was streaming on Apple+ — after I’d already heard a great deal about it out of Sundance — I was not prepared for how emotionally impactful and heartbreaking “Come See me In The Good Light” would be, especially after Andrea Gibson’s passing last year. I knew very little about Gibson before the documentary premiered at Sundance last January. Still, as soon as I heard producer and Gibson’s longtime friend Tig Notaro gush about them and the documentary on her podcast Handsome, I knew it would be something special. Not only is it a wonderful story about queer love, but it is also one of the best romances of the year in any movie — it celebrates the subject’s unique gift for poetry, which they performed with ease and passion. Also, as evidenced by White’s intimate, thorough filmmaking, Gibson was incredibly funny, smart, and full of life, even in the face of death. It’s a remarkably optimistic documentary, as Gibson and their wife, Meg, teach us how to live life to the fullest by appreciating the little things and enjoying every single second with our loved ones. It also features an excellent use of Brandi Carlile’s “The Story,” along with a beautiful end-credits song. This is a stellar documentary that deserves an Oscar nomination not just because it brought me to tears several times, but because I guarantee it will do the same to you.
- Alyssa Christian
Best International Feature Film – “All That’s Left Of You”
We’ve seen no shortage of films covering the current genocide Israel is waging against Palestine in recent years. Documentaries, like “No Other Land” and modern stories coming from the wreckage, like “The Voice of Hind Rajab,” admirably illustrate the current crisis. And yet, for me, no film has captured the breadth of the Palestinian experience quite like Cherien Dabis’s “All That’s Left of You.” Spanning decades from the 30s to the early 2020s, this sweeping epic chronicles one family’s journey from their home in Palestine through decades of occupation. Dabis, as both performer and director, fills the story with a deep well of empathy, not simply hurling accusations, but showing love for the land, for their home, for their people. It’s truly an epic in every sense of the word, capturing the grand scope of Palestine before the occupation, all the way through to the trauma that war and dehumanization cause. Saleh Bakri delivers one of the best leading performances of the year, filling this patriarch with a devastating pain that never lets up. But tragic as the story is, “All That’s Left of You” isn’t simply a dour exercise to wring tears out of the viewer. The film honors the Palestinian experience with its beauty and familial connection. It unfolds with a gentleness that helps immerse us in this family. And yes, it does capture the pain. It demonstrates the heartache of being asked to abandon the only home you’ve ever known, and the emptiness that never quite leaves this family. Like most Palestinian stories in the last few years, this film has struggled to get the audience it deserves, but few movies will move you this year like “All That’s Left of You.”
- Daniel Howat
Best Cinematography – “Resurrection”
There are some films where it’s obvious within the first couple of minutes that you’re in for something truly special visually. Bi Gan’s “Resurrection” is one of those films. Its silent film-inspired prologue is only the beginning, as each of the film’s five segments has a completely different look and feel, referencing different eras of Asian cinema. The first proper segment is a noir-like spy tale with enough atmosphere to make Wong Kar-Wai jealous. The second features a ghost story at a snow-covered temple that would feel right at home in Masaki Kobayashi’s “Kwaidan.” The next, a humanist tale of con-artist magicians, features long takes reminiscent of Edward Yang. And if all that wasn’t enough, the final segment before the film’s transcendent epilogue consists of a thirty-minute single-take tracking shot through a red-light district on the eve of the millennium, going from dead of night to first sunrise. From the stuttering frame rate and classically clever in-camera effects of the transportive prologue to the otherworldly glow of the jaw-droppingly gorgeous epilogue, “Resurrection” is 160 minutes in which every frame truly does look like a painting. Anyone who loves cinema can’t help but be carried away by the film’s lush imagery, even if its meditative pacing and poetic style aren’t your thing. But give yourself over to the film, and you’ll find that the images exert a hypnotic pull, casting a spell over you as they draw you into the film’s world. Technically astounding but still full of deep feeling, Jingsong Dong’s cinematography is a wonder, selling the magic of Bi Gan’s vision of cinema as dreams from which the dreamer does not want to wake. With images this beautiful, who would? Take a chance and watch “Resurrection,” Academy members. You’ll find your love of the art form reinvigorated by the cinematography alone.
- Dan Bayer
Best Original Score – “Marty Supreme”
Call me crazy, but Daniel Lopatin’s score for “Marty Supreme” may be as ambitious as Marty Mauser himself. Here, Lopatin is experimenting with sounds that one might assume are antithetical to the signature synth-wave sound he’s known for. Of course, Lopatin doesn’t abandon what he’s mastered over the years, but unlike Uncut Gems, he steers away from the harshness present in that film for something far lighter. There’s an airiness to the sound of “Marty Supreme,” giving listeners the buoyancy that someone like Marty exudes. Whether it’s an array of flutes and wind instruments or the harmonious vocals from a choir, Lopatin is swinging for the fences. This score is the glue that binds Safdie’s anachronistic musical choices, further proving that Marty is a man ahead of his time. Lopatin’s work has always been an integral part of this phase of Safdie’s career. Still, here the two together, even all these years later, have created movie magic that is sure to break plenty of people’s Spotify Wrapped next year (It certainly will for me, that’s for damn sure).
- Giovanni Lago
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 let us know your thoughts on our X account. Click here for more upcoming awards season dates, here for the most recent tally of awards season winners, here for our precursor tracker, and here for our current Oscar predictions.
