Why I’m not taking the Oscars seriously in 2025

I will give the Oscars this: for all the traditionalism of the historical awards ceremony, it is not afraid to change things. When there was outrage over The dark gentleman Petent a nomination for the best film in 2008, the academy increased the number of Movies Nominated five to up to ten. Following the 2015 #OSCARSSOWHite controversy, the Academy extended its voting body to make it more diverse and global. Last year, the academy finally responded to the streaming attack on the theater business by instituting new theatrical requirements for all the best film nominees, which enter into force this year. And in 2026, there will be a new prize for best casting (because, of course, there should be!).

These changes have undoubtedly had an impact. During the last decade, there have been more international contenders for best film and non -white nominees (more than zero, but still). In addition, the films that would have ever seemed too strange to win the best image (such as Parasite and All everywhere at once) They have triumphed.

And yet, this year is a good reminder that the Oscars will be the Oscars forever: devat, striking and often questionable. From The Academy announced the nominations at the end of last monthThere has been much debate passionate about the merits (or lack of them) of the films that were recognized: there are questions about Anora‘s representation of women, The brutalist‘s second half, WickedProduction design, The substance‘s lack of substance, and literally all about Emilia Pérez. Several of the main contestants have supported vicious spots campaigns that have added fuel to the fire. But as we approach the ceremony, I worry much more about what was not nominated than what it was. No matter how Oscar on Sunday night they shake, the academy will have overlooked many of the most exciting cinematographic achievements of 2024.

Nickel guys It is a film whose power comes more from its visual language than from its verbal language. So where is your cinematography nomination?

Score

The most obvious omission comes in the original score category. This is an award that has been dominated during the last decade for vast orchestral and frequently sinister arrangements. So, perhaps it should not be a surprise that the Academy has not recognized Trent Reznor and the relentless persistent of Trent Reznor and Atticus Ross. Challenging score. But it’s a shame. Reznor and Ross, who together with Jon Batiste won this award in 2020 for their work at Pixar’s Soulhave created a score that is undoubtedly the most original Original score of the year. It is like an air head (sweet, sticky, elastic, colorful, with artificial flavor) that reflects the rapid Iin-Forth of a large tennis volley. But more than reflect its subject, the Challenging score It acts as a vehicle that the movie rides: up, down and everywhere. With all due respect to Zendaya, Josh O’Connor and Mike FaistReznor and Ross’s score is the true star (and the most irreplaceable facet) of the film. Supplies Challenging Not only with adrenaline, tension and rebound, but also with its poppy tone.

There is little on the path of the plot in Planet JanetBut the quiet presence of Julianne Nicholson continually maintained my interest.

Cinematography

One of the pleasant surprises within the nominations of this year is the visionary adaptation of Ramell Ross of Colson Whitehead’s 2019 novel Nickel guys He received winks in the best image and categories of script adapted. With its subjective camera and fragmented narration, Nickel guys It is more experimental than the academy generally recognizes. However, which was recognized in the adapted script, but not to direct or cinematography is disconcerting. This is a film whose power comes more from its visual language than from its verbal language. The first -person perspective of the film task in photography director Jomo Fray, not only to capture beautiful and dynamic images, but also inhabit the protagonists of the film. It rarely allows a camera to be expressive, and under the direction of Ross, the fray unlocks a deep emotion.

Interim

Similar to academy’s preference for epic scores, of the couple It has reigned for a long time on the performance side. The academy has always been partial to ostentatious performance, monumental characters and incredible transformations. This year, you would have benefited from playing a witch, a cardinal, a famous actress, a powerful drug, a renowned architect, A famous popular singereither Donald Trump. Many of these roles were remarkably challenging. Demi Moore had to undress his whole body to play Elisabeth Sparkle, Adrien Brody I had to undress his whole soul to play László Tóth, and Timothée Chalamet I had to make a voice of Bob Dylan that did not come out like a joke. Many of the actors nominated for these roles gave strong performances. But few of these representations have buried themselves in my mind, heart and soul.

I can’t get Léa Drucker’s turn Last summer Out of my head.

At least, not the way Marianne Jean-Baptiste, Léa Drucker and Julianne Nicholson made the three seemingly ordinary women in Hard truths, Last summerand Planet Janet, respectively. Jean-Baptiste, who stars in thinking in always Hard truthsIt is the most surprising desaite of the three, and the one that has received the greatest setback. The veteran actor created Pansy with Mike Leigh, in the typical method of collaboration of the director, and is one of the most angry creations I’ve seen in a movie. Pansy is constantly offensive, rebuking his son of Layabout to walk, her husband for a perceived error and any strange enough unfortunate enough to cross his way for the slightest error. All of which can be quite fun. (“Your balls are so supported that you have sperm in your brain!” It is one of the many outstanding aspects). But the magical trick of the performance, and of the subtle and deeply affected script of Leigh, is the end of the film you want to give Pansy a hug. This is a woman you feel and who wonder, even when you go back.

I cannot say that I felt so much sympathy for the Ana de Léa Drucker in Last summer. The film, directed by Catherine Breillat, revolves around an Anne issue, a defense lawyer, has with her 17 -year -old stepson, Théo (Samuel Kircher). Breillat offers little on the path of background history, exposure or introspection. Instead, you are intended to understand how and why this sordid event happened to see it gradually, beat by beat. There is never a false moment, which is a loan for the immense emotional intelligence of Breillat and the master block, but also for these two actors. Drucker, in particular, is fascinating. She tells you everything you need to know with the most subtle gestures and expressions. As the film progresses, its initial sin, which gives to the illicit desire, is settled, creating a disaster in which it defends itself with bold and harmful lies. She acts more and more like a monster. And yet, Drucker’s representation is full of so much complexity and depth that, even after multiple visits, I feel more fascination with Anne than despise. I can’t get her out of my head.

In Annie Baker’s Planet JanetJulianne Nicholson shows another level of restriction. Nicholson, who is 53 years old, has had prominent roles in the big studio films such as Black mass and I, Tonyaas well as prestigious television programs such as The stranger and Mare of Easttown. But while playing the head Janet in Baker’s debut article, I felt that I really saw her for the first time. Janet is a single mother of an early child, Lacy (a ziegler zegler worthy of nomination), who lives in the rural area of ​​the west of Massachusetts of the 1990 For many parents. There is little on the path of the plot in the film, but the quiet presence of Nicholson continually maintained my interest.

There is a long scene at the end of the film in which Janet and Lacy lie in bed and Janet spreads more than he should for his little daughter. She admits that she always wondered if Lacy would be a lesbian and then says: “I have always had this knowledge at the bottom of me that I could make any man fall in love with me if he really tried. And I think he may have ruined my life “. Throughout the whispered monologue, Nicholson takes long and bright pauses and never looks at Lacy. The feeling that he has thought a lot about this, but only now unbuttoned herself is palpable. According to the standards of the film, it is a non -extraordinary admission, but it is as heavy as anything you have seen. And as with the performances of Drucker and Jean-Baptiste, he momentarily made me ask me: Is this the best actor in the world?