Oscar winner voting has officially started for the 98th Academy Awards 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 – “One Battle After Another”
If the Best Picture Oscar is meant to capture the world at a point in time, while representing the pinnacle achievement of the year (that of course played the best to over 16,000 people), and will stand the test of time, then “One Battle After Another” deserves serious consideration for Best Picture. It represents cinema at its very best: ambitious, urgent, and fully realized by its filmmaker. In a career already defined by modern classics, fourteen-time Academy Award nominee (and still waiting for his first win) Paul Thomas Anderson has delivered what may be his most vital and accessible work to date: an epic chase film that blends action, politics, comedy, and personal storytelling into one cohesive, exhilarating experience. Beneath its high-stakes sequences and scorching politics lies a moving father-daughter story about guilt, legacy, and the generational responsibility to continue the resistance, no matter how hopeless, one battle after another. That emotional anchor gives the film its power, ensuring its filmmaking spectacle never overwhelms its humanity. The result is a rare blockbuster-scale production from a major studio, with genuine thematic depth, a compelling sense of urgency to its messaging that directly applies to the times we are living in, that also entertains on a broad level. Craft-wise, it is exemplary across every branch of the Academy. Anderson’s direction balances controlled haste with purposeful clarity, while Andy Jurgensen’s propulsive editing keeps the 162-minute runtime cruising on. Shot in VistaVision and 70mm, Michael Bauman’s cinematography delivers tactile, in-camera action that recalls many great practical films of past decades and was best experienced in IMAX, where audiences were taken up and down the hills of California in ways never seen before on celluloid. Colleen Atwood’s costumes, Florencia Martin’s production design, and Jonny Greenwood’s dynamic score are all operating at the top of their game under the masterful watch of Paul Thomas Anderson. The ensemble, led by the always stellar Leonardo DiCaprio, a terrifyingly precise Sean Penn, a scene-stealing Benicio del Toro, the brief but commanding Teyana Taylor, and breakout Chase Infiniti, gives us memorable characters that have already become iconic, if last year’s Halloween is any indication. But beyond its craft, the film confronts timely issues: immigration, revolution, and fear from oppressive forces at a time when most Americans really need to feel it. “One Battle After Another” is the kind of achievement that defines Best Picture winners. Politically charged yet humanistic, thrilling yet thoughtful, timely yet timeless, it is not only one of the year’s finest films but also the defining film of the decade so far.
- Matt Neglia
BEST ACTRESS – Rose Byrne in “If I Had Legs I’d Kick You”
Considering how many stellar performances Rose Byrne has given throughout her career, the recent outpouring of love and appreciation for her has been incredibly rewarding. Byrne’s impeccable talent and range were always evident, though nothing could have prepared us for the visceral anxieties she navigates as Linda in “If I Had Legs I’d Kick You.” Playing a woman at her wits’ end, Byrne gets up close and personal with maternal discomfort in a patriarchal system that fails to recognize her personhood. Without a moment’s pause nor a place to hide, Byrne dives into the deepest parts of this woman’s psyche, and Mary Bronstein’s sharp eye captures every waking moment. Byrne finds remarkable nuance in Linda’s smaller inconveniences, such as struggling to find a parking spot or getting locked out of a motel room. While minor in scope, she makes these moments feel monumental, given how challenging they are for Linda to climb in her current state. Carrying the weight of Linda’s world on her shoulders and smiling through the pain, Byrne leads us on an all-encompassing journey of mental exhaustion. Her tour de force captures the ferocious spirit of independent film and brings forth a raw, realistic depiction of womanhood. Byrne finally received her flowers with a long overdue Best Actress nomination. She deserves another bouquet in the form of an Oscar win for delivering the best performance of the year.
BEST ACTOR – Ethan Hawke in “Blue Moon”
Ethan Hawke has long been one of the most respected actors of his generation. From the vulnerable intensity of “Training Day” to the devastating portrait of fatherhood he crafted in “Boyhood,” he’s no stranger to The Academy when it comes to getting recognized. Always the bridesmaid, he’s been nominated – and lost – four Academy Award nominations over the past 25 years. But when a role as meaty as Lorenz Hart comes around in “Blue Moon,” no one could be trusted more to inhabit the fragile brilliance of one of the world’s most overlooked lyricists. In the hands of writer Robert Kaplow and frequent collaborator director Richard Linklater, what could have been a talky, stage-bound script instead becomes a textured, deeply absorbing character study, elevated by what may be the finest work of Hawke’s career. On screen for 86 of the film’s 100 minutes, Hawke transcends into a charming yet achingly misunderstood man. Eschewing self-pity, Hawke shapes Hart through intelligence, emotional transparency, and vulnerability. A delicate balance of experience, restraint, and depth completes Hawke’s most transformative performance of his remarkable career. “And really, who’s ever been loved enough?” Hart quotes in one scene…and it’s certainly not Ethan Hawke.
BEST SUPPORTING ACTRESS – Amy Madigan in “Weapons”
Complaining about the Oscars is nothing new. Movie fans, filmmakers, actors, and even total normies who see three new releases a year love to bitch about the Academy Awards and the movies they choose to honor, or even more commonly, not honor. This year, Academy voters have the chance to temporarily put two common grievances to bed by voting for Amy Madigan in Best Supporting Actress for her extraordinary performance as the already-iconic Aunt Gladys in “Weapons.” One of these is an old complaint: that the Academy has a problem with horror movies. Throughout the history of the Oscars, horror has been the most frequently slighted and disrespected genre. In the nearly 100 years that they’ve been handing out Oscars, only nine films that even come close to being considered horror have been nominated for Best Picture, with “The Silence of the Lambs” being the sole victor (this year, we’ve been blessed with two nominees: “Frankenstein” and “Sinners.”) Even fewer actors have won for horror performances, with the most recent being Natalie Portman for “Black Swan.” The second common complaint is relatively newer: that the modern Academy has trouble recognizing films that haven’t been nominated for Best Picture, at least since the top category was expanded in 2009 to include more than just five nominations. This is especially obvious in the acting categories, which have awarded only 12 performers from non-Best Picture nominees among the 64 total acting winners of the expanded era. It’s not a great look, as it makes the Academy appear lazy and tunnel-visioned in the simple act of watching movies. But besides being a chance to earn some goodwill on the Academy’s behalf, awarding Madigan would be a way to recognize a truly outstanding performance that will live beyond nearly every other one from 2025. Undoubtedly, Aunt Gladys will be the film character from last year with the longest legacy. Such is often the case with horror villains, as they tend to have a striking look and instantly identifiable personality and traits. Madigan’s Gladys is no different. Yes, of course, there’s her unforgettable appearance and eccentric voice, coming across like the Joker as played by Ruth Gordon. But what makes Madigan’s performance truly impactful is the surprising depth that the veteran actress brings to the part. She’s not just a funny voice and crazy wigs, despite what the many Halloween recreations and drag impersonations might have you think. Madigan is truly terrifying, most notably in a dinner-table scene between her and her nephew Alex, where, stripped of her clown makeup and wild hair, she quietly and menacingly assures Alex (and, by extension, the audience) of her horrifying supernatural powers. Perhaps the greatest proof of the effectiveness of Madigan’s work is that the cultural fascination with Aunt Gladys was entirely organic. She wasn’t part of any of the film’s marketing, shows up over halfway through, and yet she was the element of the blockbuster movie that audiences talked about the most. A vote for Amy Madigan in Best Supporting Actress is an indication of an Academy that isn’t shortsighted, as it shows that they’re capable of looking beyond the restrictions of both typically-awarded genres and the confinement of the Best Picture field. And it’s also a vote for a damn good performance that film lovers will be imitating and obsessing over for years to come.
- Cody Dericks
BEST SUPPORTING ACTOR – Stellan Skarsgård in “Sentimental Value”
It’s tempting to say that, whenever a bona fide legend of world cinema finally gets an Oscar nomination, it invariably isn’t their best work. Think Catherine Deneuve for “Indochine,” or Ken Watanabe for “The Last Samurai,” both big, glossy productions in which these icons play watered-down versions of character archetypes they’ve played before. That is not the case with Stellan Skarsgård. His role in Joachim Trier’s “Sentimental Value” is among his best, and he delivers one of his finest performances. From his early days working with Lars von Trier to his present career peak with roles in both the Marvel Cinematic Universe and Denis Villeneuve’s “Dune” films, Skarsgård has worked with practically everyone in Hollywood on every size of production, and seemingly nobody has a bad word to say about him. The father-son banter between him and son Alexander Skarsgård (who should have gotten a Supporting Actor Oscar nomination of his own for “Pillion“) while on the awards track this season has only cemented what a hilarious, thoughtful, loving man he is, so far from the distant, haunted Gustav of “Sentimental Value.” Through Skarsgård’s sensitive performance, we see Gustav reaching out to his daughters the only way he knows how, hoping against hope that they’ll listen even though he knows he hasn’t given them a reason to. He carries a lifetime of regret behind those eyes, the perfect match for the ever-so-slightly disappointed tone of his voice whenever he has to tell someone that his screenplay isn’t about his mother, despite hewing so close to her story. The actor’s dry sense of humor comes through as well, most notably in his perfectly matter-of-fact reading about Netflix showing his film in theaters, which is one of the biggest laughs of the year. This is the time, Academy. You have the chance to reward one of the greats for one of his greats. Take it now, or regret it forever.
- Dan Bayer
BEST ORIGINAL SCREENPLAY – “It Was Just An Accident”
One of the biggest stories in cinema this year has been the Cannes breakout and Palme d’Or winner “It was Just an Accident” by Jafar Panahi. One of the bravest filmmakers in the medium, Panahi’s latest is his magnum opus, depicting an ensemble of characters who debate if the man they have captured is their former torturer. While distributor NEON has secured the last three Palme d’Or winners’ Best Picture nominations, the same was not true for this politically urgent film. Landing in just the International Feature and Original Screenplay categories, it’s not too late to properly award this deeply special film. The screenplay for the film is one of the best of this year, incredible in its intricate simplicity. The way the film slowly shifts its characters’ beliefs in what they’re doing, and how each character has their own justification for their actions, is so wonderfully communicated to the audience. The way the trauma at the root of each of the lead characters is unraveled is so delicate, and when they have the opportunity to break, it is incredibly powerful and lasting. The way this narrative is crafted is unlike any other film you’ll see this year, and that doesn’t even scratch the surface of the political undercurrent that not only reflects Panahi’s personal experiences in Iran but can be felt and understood worldwide. It’s a gift of a film and an incredibly effective work of writing, the kind of timeless work that can be studied in screenwriting classes in years to come. Anybody with a ballot should consider voting for it here, not to mention the incredible speech and moment of getting Jafar Panahi on the stage on Oscar night.
- Ben Langford
BEST ANIMATED FEATURE – “Zootopia 2”
The sequel to the 2016 Oscar-winning “Zootopia” exceeded all of my expectations for a sequel — especially since the original film is, in my view, top-tier Disney. “Zootopia 2” manages to be fresh, funny, heartwarming, clever, and filled with beautiful animation and characters, both old and new, easy to love. As an animal-loving vegan, of course, I love that there are no humans to be seen, and instead, we are introduced to new animal species living in this world. The voice acting here is top-notch, with Ginnifer Goodwin and Jason Bateman easing back into their roles, giving this lovable inter-species duo a lot of likability and authenticity. New additions Ke Huy Quan and Fortune Feimster are standouts, bringing hilarity and warmth to characters that will be iconic. There are numerous character reappearances that charm, including one that feels like a Marvel cameo. And there’s even more world-building here, too, with plenty for both adults & children to appreciate. On top of all of that, there are so many sight gags and references that you could easily miss them on a first viewing. While I found all five Oscar nominees in this category to be worthy inclusions this year, “Zootopia 2” stands apart thanks to the heart, humor, and creativity it brings.
BEST INTERNATIONAL FEATURE FILM – “The Secret Agent”
It’s impossible to describe Kleber Mendonça Fihlo’s work with “The Secret Agent” in only a few words. It’s subversive, mischievous, alluring. “The Secret Agent” is as effective as a meditative political thriller, or shades thereof, as it is a touching recollection of memories conjured through a tale born out of Fihlo’s adoration for the country he has devoted his heart and career to. The everlasting essence of Brazil, whether through recollection, folk tales, or Fihlo’s own creativity, is poured into his follow-up to “Pictures of Ghosts,” which feels like a natural landing point for his evolution as a filmmaker. Fihlo’s technical mastery behind the camera is all the more evident in the flashy yet fitting techniques he employs to recreate the stylistic look of films set in the period they depict. The wonderful ensemble he directs delivers varied performances that breathe life into the world of “The Secret Agent,” all anchored by career-best work from a meticulously chameleonic Wagner Moura. To award Kleber Mendonça Fihlo’s The Secret Agent the Best International Feature Oscar would not only be the cherry on top of its amazing award run, but it would be cementing the honor to what is not just one of the best international films of last year, but one of the best films of the year, point blank.
BEST CINEMATOGRAPHY – “Train Dreams”
So much beauty is captured within the framework of “Train Dreams.” It’s felt in the tender narrative, which explores the deep bonds among its characters as their lives unfold over time. It is seen in Joel Edgerton’s powerfully reserved performance, which has a profound impact through its interiority. However, it is undeniable that Adolpho Veloso’s cinematography is the standout craft of the film. It’s easy to admire the natural landscapes that are displayed on such a vivid canvas. The natural world is illuminated by the sun’s glowing haze and the harsh shadows that express the anxious feeling of dread that permeates the atmosphere. However, the brilliance of Veloso’s work is that it is not only concerned with highlighting pretty pictures in magic hour, though the film is certainly filled with enough of them to appreciate. His lens also showcases the open spaces of the wilderness that reflect our protagonist’s own emotional state, a seemingly vast setting whose terrain can be difficult to traverse. The massive trees crashing to the ground are both dangerous and alluring, just as Robert Grainier’s attempt to achieve a content life sends him on a perilous trek. His journey is filled with both joy and isolating darkness, seen through the chaotic forest fire that lights the screen with a red-hot blaze, the new dawn that reveals the charred remnants like a stark black carpet, and the dreamy sequences that push the stylization into hypnotic realms. The cinematography serves as a lyrical instrument, harmonizing with the theme of finding solace through tragedy. The allure of the work showcased here lies in its ability to use striking visuals to create a lasting impression. It lifts the spirits with its picturesque compositions but can also find soulful meaning in each devastating close-up. That golden beam softly diffuses on faces that show a world of profound emotional introspection. Few artisans have been able to project a euphoric majesty quite like Veloso has here, with his masterful accomplishment. He has created an enduring work that deserves recognition for its arresting and beautiful artistry.
- Josh Parham
BEST SOUND – “Sirāt”
Sound has always been an integral component of film as an audiovisual experience, but in “Sirāt,” the sound work is a critical element of the storytelling. So much of this film’s narrative is left unspoken, forcing the audience to immerse themselves in the Moroccan desert to understand its twists. The allure of the rave, in the anonymity and temporary loss of self it provides as intense beats pulsate around you, is crystal clear on the screen even though our characters never once voice it. For the film to be emotionally effective or even thematically coherent, the score and the sound must work in perfect harmony to ensnare you so that the horrors “Sirāt” begins to reveal become all the more nauseating. To watch this film in theaters is not to enjoy it, necessarily, but to be so consumed by the sound and the spectacle of it all that you are left as shell-shocked as its characters by the end of it. The desert even takes on a character of its own because of how effectively immersive its sounds are. The more we learn about the desert, the more we learn we do not know, as best embodied by how fickle and unexpected the sound work is. A cathartic expression of life through hypnotic dance music is interrupted by perhaps its exact antithesis, one that we hear before we comprehend. The sound is the story of “Sirāt,” and more than any other film this year, it harnesses what truly great storytelling can be done through the medium of audio. It should win Best Sound not because it has the most sound or the loudest sound—though it gives “F1” a run for its money in certain sequences—but because, out of any nominee, it best harnesses the artistic capability of sound.
- Amy Kim
BEST ORIGINAL SONG – I Lied To You from “Sinners”
While “Golden” from “Kpop Demon Hunters” has been sweeping the awards season as the undeniable frontrunner, even hitting the Billboard charts at No. 1, it’s hard to define it as truly the best original song when “Sinners” also features some of the best music of the year, including the nominated “I Lied to You.” It’s a soul-searing number that captures the film’s spiritual, blues heartbeat. Performed by the brilliant Miles Caton as Sammie during a breathtaking, single-take glide through a crowded juke joint, the song serves as a conduit for the character, capturing the internal friction in his religious upbringing as the music acts as a bridge across time to summon ancestral memories–past and present. Raphael Saadiq’s lyrical wit uses Southern wordplay to articulate a profound dissonance between truth and survival, mirroring a transformation in the face of both supernatural and cultural vampirism. More than just a musical interlude, “I Lied to You” is a weapon of reclamation; even as the juke joint roof burns away, the song’s transcendent power proves that the blues cannot be consumed or silenced, making it the kind of cinematic achievement that stays with you.
BEST ANIMATED SHORT FILM – “Retirement Plan”
Though John Kelly’s “Retirement Plan” runs only seven minutes, it packs a lifetime of hopes and regrets into that time. With its perfectly understated animation style, Domhnall Gleeson’s droll narration, and the gorgeous piano track flowing underneath it, it’s a sort of Rorschach test, allowing the viewer to bring their own feelings to it. For people in their thirties like me, it’s a reminder of how fast time can slip away. For young people, it’s a cautionary tale. For those right near retirement age, it’s one last gust of wind in their sails. There’s something special about this reminder, actually, to live our lives rather than make lists of all the things we wish to do on some imagined day in the future. “Retirement Plan” captures a universal feeling that people of any age could relate to and see themselves in. It does all of this, while still bringing huge laughs, too. Best Animated Short has a strong crop of nominees this year, but “Retirement Plan” is an unsuspecting gut punch, and would make an incredibly deserving winner.
- 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 98th Academy Award winners ballot here and check out our latest Oscar predictions here.
