Over the past few weeks, we’ve seen “F1: The Movie” become a box office success over the summer, crossing $500 million worldwide just a month after its release. It’s a sensational hit for Apple TV+, becoming their highest-grossing film, and yet another victory for Warner Bros. this year. “F1: The Movie” is officially the highest-grossing original movie of 2025, surpassing Ryan Coogler’s “Sinners“ at $365 million worldwide. So, does this success mean “F1: The Movie“will break into the awards conversation?
Let’s start by ruling out its chances for Best Picture. While a valiant effort was made in its production, it’s in a rough spot for contention for the Academy’s biggest prize. Director Joseph Kosinski and producer Jerry Bruckheimer teamed up again after the gigantic critical, box office, and awards season success that was “Top Gun: Maverick,“ and their creative teams similarly returned, with writer Ehren Kruger and many members of the same crew coming together to helm the project. “Top Gun: Maverick“ received five Academy Award nominations, including Best Picture, Best Adapted Screenplay, Best Film Editing, Best Sound & Best Visual Effects, winning for Best Sound. “F1: The Movie“ is looking to replicate that success, but it will likely only be in the craft categories. While the film has been celebrated for its success at the box office, its screenplay has not been its most lauded feature. “F1: The Movie“ stands out for its big-screen spectacle, featuring high-intensity racing sequences from locations all over the world, making it accessible for a global audience.
The themes of teamwork, rivalry, and the structure of Formula 1 are brought to the audience by incorporating real racing footage, real racers, and leagues from “F1: The Movie“ and having the leads, Brad Pitt and Damson Idris, drive modified F2 cars designed as “F1: The Movie“ models. The technology used in “Top Gun: Maverick“ to capture the immersive perspective of what it feels like to be within the cockpit is translated into “F1: The Movie“ through camera rigs placed on the racing models to give the sensation of racing along the track. So, although it may not be contending for Best Picture or Best Adapted Screenplay this time around, Kosinski’s latest should not be entirely counted out yet.
The five categories “F1: The Movie“ has the best chances of breaking into the awards season are for Best Cinematography, Film Editing, Original Score, Sound, and Visual Effects. Starting with Best Sound, “F1: The Movie“ has a unique trait compared to previous racing films like “Ferrari“, “Ford v Ferrari,“ and “Rush:” the genuine portrayal of Formula 1 on the racetrack. Production sound mixer Gareth John placed microphones inside the modified Formula 2 cars that Brad Pitt and Damson Idris were driving to capture the authenticity of racing on the track. The creative team behind “F1: The Movie“ collaborated heavily with the Formula 1 teams and particularly Mercedes AMG in building the modified cars used in the film to sustain the filmmaking equipment that could capture the footage and sound during each second of the race, at every turn, “box, box” call, and team strategy play on the track. The tactic used on the modified cars to capture the sound involved micing the air ducts. Also worth noting is that Gareth John is already a BAFTA, AMPS, and Academy Award winner for Best Sound for “Dune: Part Two“ and can easily get another nomiantion for his work on “F1: The Movie“ as the branch has a history of nominating previous nominees and winners rather than recognizing first-time nominees unless the work is truly extraordianry like “Sound Of Metal.“
In the category of Best Visual Effects, we have Academy Award-nominee Ryan Tudhope taking the lead as the Production VFX Supervisor. Tudhope was previously nominated for his work on “Top Gun: Maverick“ and, in an interview with Animation Magazine, has said that technology has only further improved since making the film. He further explained that even with the practicality of shooting on location at ongoing Formula 1 races such as Silverstone and Abu Dhabi, there were still “2,500 visual effect shots that had to be produced over a year and a half.“ He further explains that they had to “match-mate“ races previously done and seamlessly integrate them with multiple live camera feeds from numerous cars at the same time to capture the race as true to life as possible. There’s nothing more exciting than witnessing new technologies being developed or upgraded during the filmmaking process, and seeing Tudhope further enhance its capabilities since “Top Gun: Maverick“ offers a thrilling outlook into the world of racing and the awards race.
Best Original Score lies in the hands of twelve-time Academy Award-nominee Hans Zimmer, who has an indisputable reputation across the industry and two Oscar wins. Recently, he won his second Academy Award for “Dune“, and there was an uproar toward the Academy not qualifying his work for “Dune: Part Two.“ However, Zimmer is back with a powerful, intense, and at times moving score in “F1: The Movie.” There’s no doubting Zimmer’s work when it lands with audiences, and “F1: The Movie’s“ score has been one of its strongest highlights, consistently singled out in reviews and reactions. Zimmer collaborated very heavily with executive producer and seven-time Formula 1 World Champion Lewis Hamilton on the score, focusing on meshing the sensation of a Formula 1 race with the components of electronics and orchestra that roar to life throughout the film, giving it an exhilarating and emotional pull for audiences.
The film’s editing was done by Academy Award-winner Stephen Mirrione. He was most recently nominated for “The Revenant“ in 2015 and is now making headway into the awards conversation once again with “F1: The Movie.” This film had nine races to capture throughout the usual 20 races that occur during the regular Formula 1 circuit. The film itself couldn’t work without the immersive sensation of being in the racing locations, and the globe-trotting aspect adds a bigger feel that demands your attention. The final edit, according to Mirrione in an interview he gave to Post Magazine, was completed roughly six or seven weeks prior to its release date in June.
Lastly, “F1: The Movie“ final shot at serious awards contention lands in the category of Best Cinematography from Academy Award-winner Claudio Miranda. He’s a two-time Oscar nominee and last won for “Life of Pi“ in 2012. He was overlooked by the Academy for another nomination for “Top Gun: Maverick“ for Best Cinematography, but was nominated at the BAFTA Film Awards, American Society of Cinematographers, and won Best Cinematography that year at Critics’ Choice. Much of “F1: The Movie“ has been framed as an upgrade from “Top Gun: Maverick,“ and Miranda has pointed out that the on-site race locations served as the sets for “F1: The Movie“ since they were aiming at making the film as grounded as possible and not have to rely on shooting on green screen. The real win lies in the rigs designed to withstand the high speeds of modified Formula 2 racing cars, which can hit 200 miles an hour, as adding weight to these vehicles slows them down. In an interview with Indiewire, Miranda discusses one of the quieter scenes in the film, which could’ve been mistaken for a set, but was actually shot on location in Vegas: the balcony scene, where Brad Pitt’s Sonny Hayes opens up emotionally to Kerry Condon’s Kate McKenna. It’s one of the scenes in the film where the Vegas-lit sky at night captivates in a softer tone, but is just as beautiful and striking as the racing scenes. Don’t be surprised if this film finds itself receiving awards chatter in the latter half of the year, especially from those who felt Miranda was unjustly looked over for his work on “Top Gun: Maverick.”
Overall, “F1: The Movie“ has made a strong showing at the box office, garnering both critical and audience acclaim, and is now set for a re-release on IMAX screens this August due to its growing popularity. There’s no doubt this summer release will continue to have much tread on its tires as it races forward into awards season, but can it continue to hold momentum as the rest of the fall slate and other potential awards contenders come into play?
Do you think “F1: The Movie“ has a chance to obtain any Oscar nominations? Or will it drive off into the sunset with only its box-office victory at the finish line? Please let us know your thoughts in the comments section below or on Next Best Picture’s X account, and be sure to check out Next Best Picture’s latest Oscar predictions here.
