Cinema as Resistance: How The 2025 Best Picture Nominees Challenge Injustices, Power and Society

The fervent race for the Oscars’ most coveted prize -Best Motion Picture of the Year- is often seen as a contest in which victory is claimed by a film that flawlessly executes cinematic excellence by checking every box of artistry, storytelling and technical mastery. However, with cinema’s inherent predisposition to political scepticism, the race for Best Picture is often seen as a stage for quiet rebellion in which ideas compete that mirror the deep-seated issues of society or expose inconsistencies within the film industry. For example, when Parasite shattered barriers in 2020, it was not just a victory for international cinema but a statement against Hollywood’s insular tendencies while providing an avant-gardist perspective on the limits of capitalism. Similarly, following the infamous snub of Brokeback Mountain in 2006, when Moonlight triumphed over La La Land in 2017, it felt like a long-overdue reckoning in which the Academy finally embraced the poignant nature of queer love and sought to oppose the homophobic rhetoric that spurred following the US marriage equality legalisation in 2015. In this piece, I will briefly examine some of most stand-out Best Picture Nominees of 2025 and unravel the political and humanistic themes that linger beneath its frames illustrating how each film delivers a contextually-relevant and ideologically rich message for the world to embrace.

Contextualising The 2025 Oscar Race

In 2025, the race for Best Picture unfolds within a whirlwind of controversies, challenges and the absence of a clear front-runner adding layers of mysticism that make this year’s awards season one of the most unpredictable in film history. Furthermore, in an era defined by a resurgent conservative political climate, where the Trump administration’s relentless grip on immigration, artistic expression and minority rights collides with escalating global tensions and the rise of authoritarian-leaning world leaders, an age-old question emerges – To what extent does cinema still have the power to challenge the presence of power within society itself? This year’s Best Picture nominees do not shy away from provocation. From audacious political allegories to deeply intimate narratives, they confront the complexities of our time with a rawness that demands attention. However,  the question on whether cinema still retains its capacity to change the systematic issues it addresses remains a mystery worthy of further exploration. In this list, I compile the most outstanding best picture nominees, from what I have seen, that I believe the most compelling narratives, in order of significance.

The Brutalist

The Brutalist is a monumental masterpiece that could very well earn its respect as one of the greatest and most ambitious films of the 21st century. Directed by Brady Corbet, The Brutalist chronicles the story of László Tóth, a visionary Hungarian-Jewish architect and Holocaust survivor, who, alongside his wife Erzsébet, seeks to reconstruct their lives in post-war America. Their tumultuous journey takes a transformative turn when the enigmatic industrialist Harrison Lee Van Buren offers László a commission that promises to redefine their lives as immigrants and change the paradigm of modern brutalist architecture. This story has been empathetically narrated through the superlative performances of Adrien Brody, Felicity Jones and Guy Pearce who have each been nominated in their respective category. Furthermore, the film also executes technical mastery with a majestic score, production design and cinematography making it a well-round film that I believe is the most worthy of the night’s top prize. Beyond ticking the boxes of cinematic excellence, the film captures the birth of Modern America as it transitions from its old wild western days to a cosmopolitan capitalist urbanscape. This transformation is captured through László’s story, whose attempt to seek freedom in the American Dream is interrupted when he confronts the gritty realism of US Capitalism that hurts the people living on the fringes of society.

It is through László’s professional relationship with Harrison Lee Van Buren in building a community centre that he navigates the evils of materialism, institutionalism, exploitation and cultural homogenisation as he resists compromising his artistic freedom in the name of corporate greed which proves to a bitter journey with many twists and turns. The film’s finale features László’s final building, a brutalist masterpiece, that embodies the outcomes of America’s transformation – designed with the dimensions of a concentration camp to symbolise economic oppression, a cross at the ceiling to reflect spiritual decline, glass ceilings to expose the illusion of free thought, a hollow core representing the emptiness of the American Dream, labyrinthine hallways signifying bureaucratic entrapment, and vertical stratification that mirrors USA;s class divide. All in all, The Brutalist is well-round film with ideologically rich themes that critique USA’s social and political architecture which comes at a time in which people are beginning to question the limits of capitalism and corporate greed. Therefore, in my opinion, this film is the most worthy of the top prize and with a budget of US$10 million, this signifies a remarkable achievement in independent film history.

The Substance

Another stand-out feature is The Substance, an inventive body-horror masterpiece that brutally tackles issues of body image, industrial beauty standards and aging through a feminine perspective whilst critiquing the power play between artists, producers and shareholders. Directed by Coralie Fargeat, The Substance delves into the harrowing journey of Elisabeth Sparkle, portrayed by Demi Moore, a once-celebrated Hollywood starlet who, upon being dismissed from her long-standing aerobics show due to ageism, resorts to a clandestine drug promising rejuvenation. This experimental serum bifurcates her existence, birthing a younger alter ego named Sue, portrayed by Margaret Qualley. Bound by the stringent “seven-day rule” Elisabeth and Sue must alternate consciousness weekly; failure to adhere results in catastrophic physical degeneration. It is an out-of-the-box and monumental achievement that a film that oddly reflects the style and principles of French Extremity Body Horror is being recognised by the academy. Fargeat masterfully executes her vision alongside superlative performances by Demi Moore and Margaret Qualley as well as technical mastery in fields like editing, score and makeup and hairstyling. Through her unprecedented film, Fargeat’s message remains straightforward in rendering the internal violence women have against their bodies when their self image fails to remain congruent with their ideal image that is socially-constructed to reflect the absurd beauty standards of society, which in the film’s case is being specifically highlighted with regards to the Hollywood Film industry.

A fundamental prerequisite to truly grasping this film lies in recognising that Sue and Elisabeth, while inhabiting a single physical form, exist as dualistic manifestations of the human consciousness that are constantly vying for control. These manifestations operate one at a time within a dichotomous environment in which their conflicting desires lead to the downfall of the entire physical form. Elisabeth, representing the older entity, envies her younger self and desires to equalise two entities in terms of physical appearance by binge-eating which deteriorates her appearance. Meanwhile,  Sue, representing the younger entity, resents her older self and desires to side-line her presence by forcibly disobeying the 7 day rule. This realisation reflects the inner conflict that plagues our minds when we evaluate the congruency between our self and ideal images whilst rendering the achievement of body satisfaction as a vicious cycle that is difficult to escape. While the film brims with layered symbolism, intricate motifs, and bold cinematic, its essence remains unwavering. At its core, the film critiques the obsession women develop over their bodies as result of a societal narrative that commodifies youth, punishes aging, and pressures individuals to reshape themselves to remain desirable. Through its haunting imagery and psychological depth, Fargeat has set the record straight in calling us recognise the conflicts that punctuate within our consciousness as we evaluate our self-image and seek to action any incongruencies. 

Emilia Pérez

France’s submission to the Oscars, Emilia Pérez, is another outstanding endeavour that establishes itself in cinematic history as a resilient film that defies categorisation. Directed by Jacques Audiard, Emilia Pérez weaves the gripping tale  Rita, a brilliant yet struggling lawyer, who finds herself entangled in a dangerous Mexican underworld when she is hired by a cartel leader, Manitas, who seeks her expertise in faking his death and transitioning into a woman, Emilia Pérez, in order to escape his life of crime and undo his past wrongdoings. Instantly, we are introduced to a morally questionable premise in which a fundamentally immoral character is granted a redemption arc working against the laws of morality. Despite being hailed and embraced by industry guilds, Emilia Pérez faced waves of controversy, criticised for its perceived lack of authentic Mexican and transgender representation, sparking heated debates over cultural appropriation and the reinforcement of harmful stereotypes. However, I believe the outrage over this film stems from a fundamental misunderstanding of the film’s core humanistic themes as we operate within a divisive political environment in which we overemphasise cultural and political correctness over empathising with the narrative of a film. At its heart, I believe Emilia Pérez is one of the most bold and provocative films of the 21st century that deserves its many accolades and honours irrespective of the outrage.

One of Emilia Pérez’s most distinctive features is its refusal to conform to a single genre, defying conventional categorisation. Originally structured as an opera, the film boldly merges a wide array of cinematic styles, from musical and soap opera to telenovela, crime-thriller and drama. This eclectic fusion creates a vibrant yet unpredictable narrative, marking it as one of the most unique and ambitious films in recent memory. However, if I were to categorise Emilia Pérez, I would classify it on the basis of its ideological richness as an existential thriller, delving deep into the complexities of identity, transformation and the profound consequences of self-reinvention. One of Emilia Pérez’s most captivating aspects is its refusal to conform to a single genre, defying conventional categorization. Originally structured as an opera, the film boldly merges a wide array of cinematic styles, from musical and soap opera to telenovela, crime-thriller, and drama. This eclectic fusion creates a vibrant yet unpredictable narrative, marking it as one of the most unique and ambitious films in recent memory. As Zoë Saldaña eloquently states, beyond its gripping, plot-driven premise, Emilia Pérez is, at its core, a story of four women fighting to claim their radical freedom and become the most authentic versions of themselves, escaping a life lived in bad faith. For one, it means breaking free from the grip of crime and seeking redemption; for another, it is the pursuit of financial stability, the search for love after deep trauma, or the simple yet profound act of self-acceptance. Yet, not all of them reach their true selves, and in their struggle, the film unveils a painful truth. Emilia Pérez is ultimately a meditation on identity, exposing the dire consequences of denying one’s essence while urging us to find empathy – even for those who exist in the darkest corners of society.

Conclave

Conclave, directed by Edward Berger, offers an intimate glimpse into the secretive world of the Vatican’s papal election, weaving a narrative rich in suspense and character complexity. The papal thriller begins with the sudden death of the Pope, prompting the College of Cardinals to convene in a secluded conclave to elect his successor. Among the prominent contenders are Cardinal Aldo Bellini (Stanley Tucci), a progressive voice advocating for modernization; Cardinal Joshua Adeyemi (John Lithgow), a socially conservative figure with a strong moral stance; Cardinal Joseph Tremblay (Ralph Fiennes), representing moderate views; and Cardinal Goffredo Tedesco (Sergio Castellitto), a staunch traditionalist yearning for a return to old rituals. The arrival of the mysterious Archbishop Vincent Benitez (Isabela Rossellini), appointed secretly by the late Pope, adds an unexpected twist to the proceedings. As the cardinals navigate political manoeuvring, personal revelations and ethical dilemmas, the film masterfully portrays the tension and gravity of their decision-making process. The narrative is further enriched by stunning cinematography that captures the grandeur of the Vatican and a haunting score that underscores the film’s dramatic moments. Conclave has garnered critical acclaim for its compelling storytelling and exceptional performances, earning it a place among the notable Best Picture nominees at the 2025 Academy Awards.

Beyond its intricate plot, Conclave delves into profound ideological themes, reflecting the broader liberal and conservative divide that characterizes contemporary society and especially in the USA where it plays out as a “culture war”. The film’s portrayal of the papal election serves as a microcosm of today’s political landscape, highlighting the clash between progressive ideals and traditional values within the Church. Cardinal Bellini’s push for modernization mirrors the liberal agenda for inclusivity and reform, while Cardinal Tedesco’s traditionalism echoes conservative calls for a return to foundational principles. This ideological tug-of-war is further complicated by personal ambitions and hidden agendas, mirroring the political polarisation evident in the 2024  US Presidential election. The film also addresses issues of identity and authenticity, particularly through the character of Archbishop Benitez, whose unexpected presence challenges the status quo and forces the cardinals to confront their biases and preconceptions. Conclave thus not only provides a gripping narrative but also prompts viewers to reflect on the complexities of leadership, the challenges of ideological polarisation and the enduring struggle between tradition and progress in shaping the future of institutions. In a digital age in which political beliefs divide us, Conclave asks us to reassess our belief systems and embrace difference, uncertainty and the diversity of though as higher virtues.

Anora

Our final stand-out feature and the predicted winner of the best picture race, Anora, directed by Sean Baker, is a compelling comedy-drama that delves into the complexities of love, power and class within the vibrant Russian-American community of Brighton Beach. The film follows Ani, portrayed by Mikey Madison, a naïve lap dancer whose life takes an unexpected turn when she marries Vanya, the son of a Russian oligarch. This union propels Ani into a world of opulence and intrigue, challenging her perceptions and resilience. Baker’s direction seamlessly blends elements of screwball comedy with social realism, creating a narrative that is both entertaining and thought-provoking. The film’s authenticity is further enhanced by its diverse New York settings, capturing the essence of the city’s multifaceted culture. Madison’s performance has been widely acclaimed, earning her a BAFTA award and an Academy Award nomination for Best Actress. Anora has also achieved significant box office success, grossing over $40 million worldwide, a testament to its broad appeal and critical acclaim.

Beyond its engaging plot, Anora addresses profound ideological themes, shedding light on the intricacies of the sex industry and the human stories within it. The film treats sex work with respect and empathy, challenging societal stigmas and offering a nuanced portrayal of those within the profession. Ani’s relationship with Vanya underscores the transactional nature of certain relationships, prompting viewers to reflect on power dynamics and authenticity in human connections. The stark class divide between Ani’s modest upbringing and Vanya’s wealth highlights societal disparities, emphasising the challenges individuals face when crossing socioeconomic boundaries. Anora invites audiences to empathize with characters often marginalised, encouraging a deeper understanding of their struggles and aspirations.  While the film displays its themes it full lights, in my opinion, it is the weakest of all nominees in that it lacks any form of depth or substance that would have enhance the film’s thematic portrayal of its issue. Nevertheless, excluding its R-rated explicit scene, it is a film that can be delivered to diverse audience whose message can be easily digested at the surface level.

Diogenes Unplugged: 7 Philosophical Stunts That Combine Truth & Wit

When we think of the Ancient Greek philosophical pantheon, names like Socrates, Aristotle, and Plato inevitably come to mind. These intellectual missionaries laid the bedrock of Western thought, crafting ideas and allegories that still drive the engines of academia today. However, amidst this elite philosophical assembly, one figure stands out like a sore thumb at a toga party: Diogenes of Sinope (404-323 BC)¹. Born in the 4th century BCE, he was the son of the infamous Tresius, a wealthy money-changer, whose adulterous and fraudulent activities forced him and his family to be exiled from Sinope to Athens. There, Diogenes lived his life as a mendicant, choosing to shelter himself in a ceramic barrel by the Temple of Cybele, where he transformed his life of poverty to virtue by embracing philosophy in a peculiar sense¹. Today, he is regarded as one of the leading proponents of Cynicism, a school of thought that emphasised living in virtuous agreement with nature, rejecting societal conventions and avoiding material excess.

The peculiarity of Diogenes’s characterisation as a philosopher stems from the methods he chose to express his cynical ideas. While Socrates was busy questioning everything in sight and Plato was off in his ideal world crafting perfect forms, Diogenes was more concerned with turning the whole philosophical exercise into a comedic spectacle. Unlike his contemporaries who practiced traditional teaching methods, Diogenes chose to exercise his philosophical propositions  through hilarious stunts that shocked the streets of free-speech-loving Athens. Unashamed by the defiance of social norms, these humorous stunts reverberate deep ideas that continue to be relevant to this day. From the very act of living in a barrel to his infamous lantern and mocking of Plato, I count down in this list 10 of my favourite philosophical stunts by Diogenes and what I believe their philosophical underpinnings might be.

1. The Barrel Affair

One of Diogenes’s most stand-out stunts was his enduring choice to live life in a large ceramic jar (affectionately referred to as a barrel in popular culture). Although one would rationalise this choice as exemplification of his exposure to poverty, it is impossible to assume that a man as ingenious as Diogenes would not make a conscious choice to live in barrel. This very act has continued to stand the test of time and has inspired thinkers to this day. Famously in 2007, during Dutch Philosophy week, philosopher, Eric Hoekstra emulated Diogenes by living the week in a barrel in order to highlight the essence of living a life that is free from the complex idiosyncrasies, constructs and trappings that define the contemporary era².

Similar to Hoekstra’s stunt, Diogenes’ lifestyle choice shares similar philosophical underpinnings. As a cynic, his simple living choice questions the necessity of luxury and exuberance in sustaining a mortal human life. His message remains more evident than ever in the contemporary era that is often characterised by materialism and decadence from our infatuation with physical objects and desire to conform to the norms and constructs of the modern world.  Diogenes reminds us to question the futility of our materialistic desires and free ourselves from living a sheltered existence in a calculated society. His message remains more relatable that ever to the elites of Ancient Greece as the elites of today, whose extravagant hedonistic lifestyles are hindered by an inner emptiness and desire for simplicity that one would forever remain unrealised. His simplistic choice embodies this cynical philosophy and establishes the school’s fundamental answer on how to live a mortal human life.  

2. The Daylight Lantern

Another one of his clever stunts, was his daylight lantern, a frequent spectacle that involved Diogenes walking the sunny streets of Athens with a well-lit lantern. When questioned by onlookers of his bizarre behaviour, his response was that he was looking for an ‘honest man’. There is a current historic debate on the exact words he stated with some experts suggesting that he was looking for a ‘man’ or ‘human’ or any other word choice that reflects the idea of humanity³. This lexical dispute leads to two interrelated interpretations that I believe collectively convey the essence of his ingenious act.

If Diogenes was indeed looking for an honest man, it is palpable that he was highlighting the severe lack of authenticity and honesty in a society that is constrained by norms and constructs. By choosing to search this inexistent man in broad daylight, he highlights the scarcity of honesty and how it is instilled through society where people choose to act and enslave themselves to a status quo whilst jeopardising their own exercise of freedom. His choice to conduct this search with a lit lamp only further accentuates the gravity and relevance of his philosophical message to Athenian society that was at times stricken by instances of bad faith,

However, if we shift gears and focus on the second historic argument in that Diogenes was in search for a ‘human’ or ‘humanity’, it seems that he was questioning the very definition of humanity and how it was applied and practiced by the citizens of Athens. One could argue that his search for humanity was synonymous to an ordinary man’s quest for meaning as he climbs the ladder of life. However, his inability to search one, despite being in daylight with a lamp, serves as stark reflection on how many of us choose to live against the forces that strives us to find meaning in life and self-actualise. Consequently, Diogenes’s idea of the ‘honest man’ is more synonymous to a ‘genuine man’, a man whose quest for meaning is derived by his intrinsic desires as opposed to the expectations of society emphasising the importance of humans to self-actualise and celebrate their inner genuine self.

3. Don’t block my sunlight!

Many of the stunts mentioned thus so far were undoubtedly eccentric and wise but were relatively simple to translate actions to substance. The following stunt, however, is brief and implicit but carries profound axiological undertones. This is the tale of the day when the mighty King of Macedon, Alexander the Great, on an expedition to Corinth, encountered Diogenes, as usual, living life in his infamous barrel.

According to Plutarch’s writings, Alexander, having been educated by Aristotle, had himself become a fervent lover of wisdom and was thrilled to meet the iconoclastic Diogenes at the time. On that fateful day, Alexander approached the man whilst he was bathing in his barrel and in a brief yet memorable exchange, Alexander asked Diogenes if there was any favour he could grant him. Diogenes, reclining in his barrel, looked up and simply replied, “Move a little to the right; you are blocking my sun”. With a thoughtful smile and an expression of sudden clarity, Alexander then declared, “If I were not Alexander, then I should wish to be Diogenes”, subsequently granting his trivial request⁴.

This encounter represents a profound juxtaposition between two towering figures of antiquity: an ambitiously intelligent conqueror and a sagacious, ascetic philosopher. The stark contrast in their worldviews is immediately evident through our pre-conceived notions of both, and their humorous exchange illuminates several of Diogenes’s cynic philosophies. In essence, Diogenes extols simplicity as the highest virtue and his impudence to face the most powerful man in the Hellenistic world in such a casual manner. Diogenes positions himself as equal to Alexander and rejects the idea of titles and demographic markers that disrupt our humanistic need to bond with fellow humans. Alexander, despite his own grand pursuits, profoundly understands and acknowledges the wisdom in Diogenes’s words by fulfilling his simple request.

Furthermore, Diogenes’s emphasis on the ‘sun’ serves as a potent symbol of nature and the elemental needs of human life, urging us to reconnect with and celebrate the simple pleasures derived from nature. This interaction is thereby a  timeless lesson that underscores the value of simplicity and contentment over the relentless pursuit of power and wealth by contrasting two juxtaposing figures in the history of Ancient Greece. As we navigate the complexities of modern existence, Diogenes’s message remains strikingly relevant: true fulfilment maybe found in the simple pleasures delivered by nature. In a world that is increasingly plagued by materialism and technological encroachment, we can revert to modest natural pleasures by the sounds of water gushing through fractured rocks or sun rays falling over a verdant vista of hills.

4. The Silence of the Statues

There are no limits to the eccentricity and ingeniousness of Diogenes’s philosophical stunts. Here is another peculiar one… Begging for food and money from statues. Diogenes would stand before the statues of gods and illustrious figures in public spaces, extending his hand and imploring them for alms⁵. Once again, his persistent pleas to these inanimate objects highlighted his willingness to engage in actions that defied conventional logic and decorum. However as accustomed as we are to Diogenes’ style of wisdom, we know this too was far from a meaningless stunt; it was a deliberate philosophical exercise that carried a deeper, profound message.

The underlying philosophy of begging from statues was a sharp critique of human behaviour. By choosing statues as the recipients of his pleas, Diogenes illustrated the futility of seeking help or validation from those who cannot provide it. This act paralleled the often-fruitless efforts of humans seeking approval from indifferent or incapable sources. Just as statues are lifeless and unresponsive, so too are many of the entities from which people seek validation- be it societal institutions, material wealth or superficial relationships. Diogenes’s actions underscored his cynic ideals of self-sufficiency and independence from societal expectations. He demonstrated that true strength and contentment come from within, rather than from external approval or assistance. Through this witty act, Diogenes challenged individuals to reconsider their dependencies and to cultivate a life grounded in self-reliance and inner fulfilment. This is key ideological fixture within cynicism and is indeed relevant in the present day, where external validation remains a key constituent of identity formation that has subsequently obscured us from our genuine self and our ability to stay independent and free.

5. The Featherless Chicken

Diogenes, our iconoclast, is also known for challenging his fellow philosophers at time who were ever-so infatuated with defining the metaphysics of reality through what he would have described as an absurd and ludicrous approach to inquiry. One of his most despised institutions would have been the Platonic academy where Plato himself had one day merely defined humanity as ‘featherless bipeds’ thus commanding Diogenes to perform yet again another philosophical stunt.   In this provocative act, Diogenes was said to have entered the platonic academy with a featherless chicken and proudly declaring “Here is Plato’s human!⁶” This audacious act, which at first seemed like a mere joke or a mockery of philosophical discourse and was so influential that Plato himself was compelled to revise his definition of humanity.

The underlying message of Diogenes’s plucked chicken was to critique the superficial and abstract thinking instilled by the institutions of the time. By presenting the featherless bird as a “human” Diogenes exposed the inadequacy of defining humanity through theoretical thought experiments and reducing complex entities to narrow descriptions comprised of a few simple words.  It emphasises the importance of looking beyond superficial attributes to understand the true nature of complex concepts as opposed to over-intellectualising and fetishizing them for the sake of pedagogy or philosophy.  The holistic approach to understanding life through experience and living is what Diogenes advocates as the most ideal way to gage metaphysical concepts. This anecdote remains relevant to date, questioning figures in the academic field to seek deeper, more meaningful and more pragmatic definitions of complex phenomena that shrouding them in meaningless imagery and abstract thought that would never be understood by the layman.

6. Living Life Like a Dog

Diogenes is said to have lived life like a dog as the Athenians would says.  He was known for his habit of scavenging for food, much like a stray dog. He would roam the streets, searching for discarded scraps and openly consuming whatever he found, regardless of how it might be perceived by others. This behaviour also said to have extended including acts such as urinating in public and masturbating on the streets of Athens⁷.

The philosophy behind Diogenes’s ‘dog-like’ existence where he chose to make private acts a public spectacle is once again one of his many cynic metaphors.  By aligning himself with the natural, unpretentious behaviour of dogs, Diogenes sought to demonstrate the transformation of humans from lawless animals to tamed beings highlighting a disparity that underscores the impact of societal norms and constructs in giving humans their new identity. By doing so , Diogenes reminds us that despite our complex human evolution we are still indifferent to animals and carry the same basic instincts, needs and desires which we must sometimes confronted in times of morally ambiguity. Therefore, Diogenes’s adoption of this lifestyle was a deliberate commentary on the false currency of morality and societal norms, which he saw as barriers to empathising with humans when we face scenarios where established morals are questioned and human instincts come into fruition. 

7. King or Slave?

We close this list with  one of the most striking of Diogenes’ philosophical stunts, this one involving human bones, slaves and once again the King of Macedon.  According to Plutarch’s accounts, one ordinary day, Diogenes set foot on a marketplace where he was meticulously digging through a pile of human bones which attracted the stares of a few daily grocers. When asked what he was searching for, presumably by Alexander himself, he reportedly replied, “I am looking for the bones of your father (Philip of Macedon), but I cannot distinguish them from those of a slave”^8.A deeply macabre and bone chilling act but nevertheless another one of his erudite stunts. 

Diogenes’s search for bones was not a literal quest but a symbolic commentary on human equality and the futility of social distinctions making it one of his most progressive messages that surpasses the intellect of the time where inequality was weaved through the Hellenistic social fabric. By sifting through bones to find those of a king but unable to distinguish them from those of a slave, Diogenes was highlighting the inherent equality of all humans beyond their social status and roles. He highlights that in the face of death, all human distinctions become meaningless irrespective of whether they are by gender, status, wealth or role. It serves as a direct challenge to the social hierarchies and pretensions of his time, emphasising that material and social distinctions are ultimately irrelevant when faced with the fundamental truths of human mortality.

Diogenes’s bone-searching incident serves as a timeless reminder of the ephemeral nature of social status and material wealth. In today’s context, where societal divisions and the pursuit of status often overshadow our common humanity, Diogenes’s message is particularly relevant. It encourages us to recognise the inherent equality of all individuals and to reflect on the true value of our actions and judgments. By acknowledging the inherent sameness in all people, we can foster a more equitable and compassionate society, transcending superficial distinctions and focusing on shared human experiences and values.

There we go! 7 Philosophical stunts performed by Diogenes that despite being comedic gold hint erudite messages that are still relevant to modern-day as much as ancient humans. Since this is an article on Diogenes, let me end it by rejecting the academic convention of writing a conclusion and leave it to you synthesise and concatenate the wisdom and comedy of Diogenes’ stunts. He remains my favourite Classical philosopher and an eloquent reminder of how simplicity, honesty and equality among many others are great virtues that define humanity.

REFERENCES

¹Diogenes of Sinope. (n.d.). In Internet Encyclopedia of Philosophy. Retrieved July 22, 2024, from https://iep.utm.edu/diogenes-of-sinope/

²Cook, W. (2007, April 5). The philosopher of fun. The Guardian. Retrieved from https://www.theguardian.com/theguardian/2007/apr/05/features11.g2

³Zaretsky, R. (2016, Spring). Looking for an honest man. National Affairs. Retrieved from https://www.nationalaffairs.com/publications/detail/looking-for-an-honest-man

⁴Panagopoulos, A. (2023, October 18). The meeting of Alexander the Great and Diogenes the Cynic: A clash of philosophy and power. Greek Reporter. Retrieved from https://greekreporter.com/2023/10/18/alexander-great-diogenes-philosophy/

⁵Grout, J. (n.d.). Diogenes the Cynic. Encyclopaedia Romana. Retrieved July 22, 2024, from https://penelope.uchicago.edu/~grout/encyclopaedia_romana/greece/hetairai/diogenes.html#:~:text=Asked%20why%20he%20begged%20in,hunger%20by%20rubbing%20one’s%20stomach

⁶Saul, H. (2016, April 4). Of Socrates, cynics and flat-nailed featherless bipeds. The New York Times. Retrieved from https://archive.nytimes.com/opinionator.blogs.nytimes.com/2016/04/04/of-socrates-cynics-and-flat-nailed-featherless-bipeds/

⁷Martin, D. (2023, June 1). Diogenes the Cynic: A Socrates gone mad? Psychology Today. Retrieved from https://www.psychologytoday.com/au/blog/hide-and-seek/202306/diogenes-the-cynic-a-socrates-gone-mad#:~:text=After%20being%20exiled%20from%20his,the%20false%20currency%20of%20morality

⁸Tsakonas, A. (2023, January 1). Diogenes of Sinope and Alexander the Great: A study of philosophical confrontation. Strategos History. Retrieved from https://www.strategoshistory.com