Mixed Races, Locks & Campaigning: My 2026 Oscar Forecast

Last year’s Academy Awards unfolded along an unpredictable trajectory, with each precursor ceremony revealing its own biases before a wave of controversies spanning representation debates, resurfaced tweet  and AI‑related backlash upended the campaigns of several front‑runners. The result was a slate of unexpected snubs and surprise victories at the 2026 Oscars. This season, by contrast, feels markedly more stable: a field with clearer frontrunners, a handful of genuinely competitive races and only a few categories still searching for a lock. One of the strongest indicators of a Best Picture front‑runner is the film that leads the nominations tally—a position claimed this year by Ryan Coogler’s Sinners, which shattered records with an extraordinary 16 nominations. Yet despite its all-rounded strength, its repeated losses in top categories at comparable awards shows have led many to believe that One Battle After Another holds the stronger path to the night’s biggest prize. While One Battle After Another and Hamnet claimed the top Golden Globe honours, One Battle After Another went on to dominate the DGA, BAFTA  and PGA awards complicated only by Sinners securing the SAG ensemble win. These precursors suggest that One Battle After Another may indeed be the closest thing to a Best Picture lock, though voting dynamics across dozens of categories always leave room for late‑stage surprises. In this article, I lay out my predictions for the major film categories—who is poised to win, who could upend the race and who, in my view, most genuinely deserves to take home the honour.

Acting Awards

It’s an exceptionally strong year for acting, but with only one category presenting anything close to a true lock: Best Actress. Jessie Buckley’s soul‑stirring performances as Agnes in Hamnet has swept every major precursor from the Golden Globes to the BAFTAs placing her in a commanding position to take home the Oscar. Meanwhile the lead actor category demonstrates a mixed narrative. While Timothée Chalamet from Marty Supreme was the assumed front-runner, it was not until the SAG and BAFTA awards that a race was created with Michael B. Jordan from Sinners and Robert Aramayo from I Swear winning their respective award shows. This leaves us to a race between Timothée Chalamet and Michael B. Jordan Both; both actors have delivered powerful performances with Jordan’s excellence demonstrated through double acting  and Chalamet’s comedic yet emotionally-sublte portrayal of an ambitious ping pong player in pursuit of greatness. More complicated, however, are the supporting acting races, with a two-way race between Sean Penn and Stellan Skarsgård for the actor category and a three-way between Amy Madigan, Wunmi Moussaku and Teyana Taylor for the supporting actress category. Realistically, the awards could be given to anyone in each of these categories and only then can a judgment be made on what type of acting really stood out to the academy this year.

Additional Note: In 2026, we also celebrate a new milestone in Oscar history, as the Norwegian  film Sentimental Value becomes the first non‑English language film to score four acting nominations (Renate Reinsve, Inga Ibsdotter Lilleaas, Stellan Skarsgård, and Elle Fanning). Adding to this landmark moment, Secret Agents star Wagner Moura joins the field with his own nomination, signalling a new era in Hollywood where non-English language performances have received proper recognition. 

Technical Awards

Technical categories as always are voted by industry experts and are shaped by precision, spectacle and ingenuity, with several films staking clear claims. F1 is the frontrunner for sound and possibly visual effects, for its immersive racing sequences and high-octane pacing making it a technical marvel. Meanwhile editing, an award largely tied to Best Picture, is most likely to be claimed by One Battle After Another for its stunning well-edited filming sequences and effective transitions between scenes.  One Battle After Another is also likely to earn attention for cinematography, having won the BAFTA and ASC awards, recognising its dynamic camera angles and use of vista vision. However, this can easily be challenged by Sinners who also presents a strong technical proposition around the use of colour, visual design and composition. Despite this, one of the biggest anticipated winners of the night across several technical categories is likely to Guillermo del Toro’s Frankenstein. It is currently the frontrunner for 3 technical categories reinforced by previous wins – These categories include Production Design, Costume Design and Makeup and Hairstyling. Overall, the field is competitive, but these films collectively demonstrate technical excellence in 2026 and it’s unliked that any win would be perceived as controversial or not meticulous.

Musical Awards

Musical storytelling has made a striking return to the Oscars this year, with Sinners delivering some of the strongest cinematic music in recent years and emerging as a clear frontrunner for Original Score. Ludwig Groanse’s blues-infused compositions blend modern and traditional elements, culminating in a surreal musical sequence that perfectly integrates narrative and performance, earning the film consistent wins at major precursors including The Golden Globes and BAFTAs. For Original Song, K-pop sensation Golden has dominated the awards conversation as much as the charts; Its global popularity and inventive structure making it one of the year’s biggest hits probably hinting for a revival of Kpop. While there is always a chance the Academy could reward I Lied to You, the consistent recognition of Golden across earlier ceremonies makes it a safe pick. Meanwhile, films like Train Dreams and Bugonia continue to demonstrate the creative possibilities of music in film, but the momentum clearly favours Sinners and Golden as the leading contenders this awards season.

Writing Awards

Screenwriting remains a cornerstone of cinematic recognition, and 2026 has begun to clarify the races despite a tumultuous WGA season marked by strikes and controversies. One Battle After Another’s victory in the Adapted Screenplay category at the WGA positions it as the clear frontrunner, creating less hope for films like Hamnet which have failed to properly capture the attention of voting groups. In Original Screenplay, Sinners continues to dominate following its WGA win, Ryan Coogler’s mix of social commentary, character depth and inventive storytelling giving it a strong edge. Nevertheless, It was Just an Accident and Sentimental Value also remain in contention, offering great case of well-constructed foreign language screenplays that blend slight comedic elements with emotional depth, but the awards season so far suggests Sinners and One Battle After Another are the films to beat, with both races showing strong momentum.

The table below summarises my predictions for the 98th Academy Awards – highlighting the likely winners, the potential surprises and my own perspective on who I would like to see taking the prize.

The 98th Oscars: My Predictions for Film Categories

Scoring the Spectrum: Eurovision 2025’s Regional Highlights

Year after year, the Eurovision Song Contest (ESC) dazzles audiences with a glittering line-up of performers, each vying to harmonize artistic vision with show-stopping stagecraft leaving jurors and televoters in a state of dilemmic despair during the finals. In 2025, the trend iterates through a line-up strongly characterised  by language diversity, meaningful lyrics and a diverse blend of genres ranging from pop, folk, rock and the occasional joke song to ignite a few laughs and giggles. Instead of nominating predictions in the usual fashion, this year invites a different lens: who triumphed within their regional blocs? Here’s a closer look at who I think would be the  best-placed entries from across the Eurovision universe irrespective of whether or not they qualify to the finals.

Best Placed Big 5 Country: France (Louane – “Maman”)
Despite fans repeatedly nagging about France’s annual obsession with sending slow, emotionally-charged ballads, it is nonetheless the ballad powerhouse of the ESC. This year is no different and is arguably amongst the best ballads France has ever sent to the contest. “Maman”, sung by Louane, is a  tearjerking ode to maternal strength and the timeless emotions that fill the empty void of meaning that follow a parent’s death. She delivers a raw and cinematic performance that finds power in subtlety allowing diverse audiences to reconcile with its lyrics extending far beyond language barriers. 

Best Placed Nordic Nation: Sweden (KAJ – “Bara Bara Bastu”)
While France has remained steadfast in championing its love for emotive ballads, Sweden took a bold detour from its usual formula of English-language pop perfection—delivering something entirely unexpected this year. It is a song where humour is met with harmony in this unexpected Nordic gem. With a tongue-in-cheek tribute to sauna culture, KAJ blends traditional motifs with contemporary production, proving Sweden still knows how to innovate within the Eurovision formula.

Best Placed Former Yugoslav/Balkan Nation: Albania (Shkodra Elektroni – “Zjerm”)
Indisputably, Albania stands out as one of the impeccable performances this year that actually carries with it a minuscule chance of winning the entire contest. Zjerm, meaning fire in Albania, is a powerful ballad that explores the complexities of human compassion in a world that is brimming with injustice and oppression in a morally-constrained society. Moreover filtering the songs ontological richness, still leaves us with a captivating song that astutely amalgamates between the sound of tribal folk with electrofolk making it one of Albania’s bets entries into the contest.

Best Placed Central European Country: Austria (JJ – “Wasted Love”)
If there was one country that truly deserved to take home the top prize this year, it would be Austria. Performing on a boat battling a boisterous summer storm, Austria’s JJ brings Opera to the ESC stage with hints of pop and EDM creating one of the strongest songs in terms of musical composition and genre mixing.  The song which dramatizes the intense emotions reverberating during a phase of unreciprocated love, illustrates a powerful case of how classical vocal techniques and lyrical depth can be adapted to contemporary music formats making it arguably the most impressive performance of the year.

Best Placed Benelux Country: Netherlands (Claude – “C’est La Vie”)
It is a simple song about the beauty of life that still manages to resonate with many. Claude delivered one of the most effortlessly stylish performances of the year with his bilingual bop, seamlessly blending French and Dutch lyrics into a smooth, retro-inspired sound. With vintage flair, charismatic stage presence, and a clever nod to the Netherlands’ multicultural identity, the performance stood out without trying too hard. It was a celebration of linguistic and cultural fusion that felt both nostalgic and fresh—earning applause and solid points across the board.

Best Placed Baltic State: Estonia (Tommy Cash – “Espresso Macchiato”)
The surrealist rapper delivered a genre-defying performance that blurred the lines between performance and absurdist theatre. Welcoming this year’s joke entry is Estonia, whose Espresso-Machiatto appears to humorously play with Italian stereotypes through a series of nonsensical lyrics. It was as polarising but it was always unforgettable. Love it or not, the act boldly showcased Estonia’s commitment to creative risk-taking and artistic experimentation on the Eurovision stage.

Best Placed Caucasus Country: Armenia (Parg – “Survivor”)
It has been a weak year for the Caucasus Countries and Armenia appears to be the most stand-out performance this year. Parg who usually engages in a stirring fusion of folk instrumentation and cinematic pop, this year entry seems to merge between hard rock and athletic pop.  Parg’s commanding vocals, paired with energetic visuals, created a performance that transcended language and borders. 

Best Placed Anglophone Islands: Malta(Miriana Conte – “Serving”)
Malta brought unapologetic sass to the stage with “Serving,” a bold, club-ready anthem dripping with attitude and flair. Miriana Conte commanded attention from the first beat, delivering slick choreography, eye-catching fashion, and undeniable star power. It was a masterclass in pop performance—polished, provocative, and impossible to ignore.

Eurovision 2025, as accustomed as we are to every year, will see large disappointments and surprises but in doing so, it gave nearly every region a chance to shine. These performances weren’t just songs; they were cultural statements, regional triumphs, and soft power tools disguised in glitter and fog. Eurovision’s power lies not just in picking a winner, but in showcasing the kaleidoscope of Europe’s (And Australia’s) creativity—and this year, it did just that.

Eurovision Song Contest 2025: Predicted Best Performances (Summary) 

The Year with No Front-Runner: My Predictions for the 2025 Oscars

In contrast to previous years, in which the Oscars followed a predictable trajectory through the emergence of a clear front-runner, the 2025 awards season has been anything but conventional. One leading indicator of the Best Picture Front-Runner is the film that leads the pack with the most nominations which in this year was taken by Jacques Audiard’s “Emilia Pérez”  that scored an impressive 13 nominations. However the film’s course has been marked by controversy following the waves of outrage that erupted due to its issues concerning cultural appropriation and a recent PR disaster involving its lead actress’s offensive tweets that may have curtailed its chances of taking home the top prize. Another leading indicator are precursor wins through award shows like the BAFTA and Golden Globes which foreshadow best picture favourites. This year, while The Brutalist and Emilia Pérez took home the top honours at the Golden Globes, Anora scored at the DGA and PGA awards which was further complicated by Conclave winning the top prizes at the SAG and BAFTA awards. If I were to analogise this year’s Oscar race I would perceive it as a high-stakes poker game -each contender holding strong cards, but none with an unbeatable hand. Like Cardinal Lawrence reiterates in Conclave, as the night approaches, the only certainty is uncertainty. In this article, I present my predictions on who is likely to take home the main prizes the major film categories, specifically with regards to who is predicted to win, who could surprise us and who truly deserves to take home the honour in my humble opinion.

Acting Awards

It is a strong year for acting with potential locks for the supporting categories in which Zoe Saldaña from Emilia Pérez and Kieran Culkin from A Real Pain have  swept major precursor awards from the Golden Globes to the BAFTAs and are in a strong position to win within their respective categories. Meanwhile the lead acting categories demonstrate a mixed narrative. While Adrien Brody from The Brutalist was the assumed front-runner, it was not until last week’s SAG awards that Timothée Chalamet from A Complete Unknown pulled off a surprise win that has brought him back to the race. Both actors have delivered powerful performances with Brody’s emotional embodiment of the plight of an immigrant and Chalamet’s characterisation of Bob Dylan demonstrating strenuous commitment. The lead actress category is more convoluted creating a three way race between Demi Moore (The Substance), Mikey Madison (Anora) and Fernanda Torres (I’m Still Here) who each deliver superlative performances. While Demi Moore has a slight edge due to her career narrative of making a comeback performance, the night is up for a surprise in this particular category.

Technical Awards

Technical categories like editing, cinematography, sound and visual effects are voted by specialist guilds due to their scientific nature entailing the most rational judgement. This years frontrunners are The Brutalist, Dune Part 2, Wicked and The Substance who each seem to be partially locked across several categories. While Dune Part 2  leads in categories like Sound and Visual Effects, The Brutalist is predicted for a win in Cinematography. Meanwhile, Wicked, could easily pull of a win in Production and Costume Design, if unpressured by Nosferatu or The Brutalist, recognising its almost whimsical and alluring depiction of the land of Oz. One of the most obvious locks however is The Substance winning for Best Makeup and Hairstyling which is easily evident with the raw and rugged brutality of its characters when portrayed in horrific sequences.

Musical Awards 

The past year has been great for Musicals marked by the first time in 55+ years, the academy recognised two musicals, Wicked and Emilia Pérez, in the Best Picture category. However, given Wicked was a cinematic re-enactment of a Broadway musical, its lack of original songs would mean it would have to wait until its sequel in which it would be in a better place to win its musical awards. In terms of original score, the current front-runner is The Brutalist who in a majestic cadence of musical pieces truly uncover the raw emotions, thoughts and states of an immigrant as he navigates the chaos of survival in Modern-Day America. Meanwhile,  for original song, El Mal from Emilia Pérez has captivated awards shows likely due to its invigorating tone and lyrical narrative that serves as a metaphor for the corruption that lingers beneath drug cartels in Mexico. The only way El Mal could loose is if the academy decides to give out a career win to Diane Warren for her song The Journey from Six Triple Eight although the odds of this happening are extremely unlikely.

Writing Awards

The cruciality of screenwriting can never be understated in how they spring characters and ideological themes to life. This year features strong contenders vying for recognition in both the Original and Adapted Screenplay categories. In Adapted Screenplay, Conclave has emerged as a major player, having won major precursors , making it a compelling choice for the Academy. Meanwhile, in the Original Screenplay race, the frontrunners appear to be Anora, having won the recognition of the WGA,  although A Real Pain and The Substance could pull off a possible upset. The contenders for original screenplay feature fast-paced narratives and have introspective layers of creativity that make them truly original. While Conclave seems to be fully locked for adapted screenplay, it remains to see whether Anora or A Real Pain could win the original screenplay category.

Feature Awards

Moving from acting, technical, writing and musical awards, the tightest races of this year’s Oscars would play out in the Best Picture, International Film and Animated Feature Film categories. For Animated Feature, it is a two-way race between Flow and The Wild Robot where the Academy is likely to prefer the latter given it is a domestic film and has lead its way through precursor awards like the Annie Awards. Similarly, for International Film, the race is between Emilia Pérez (France) and I’m Still Here (Brazil) for which the latter may win if the controversies surrounding the former would mitigate its chances at winning any awards during the Oscars. Finally, when it comes to Best Picture, it is safe to say that Emilia Pérez has left the race and what is revealed is weak three-way race between The Brutalist, Conclave and Anora for which Anora is an obvious frontrunner given its performance at the DGA and PGA awards. However, unlike Oppenheimer‘s sweep in 2024, this year a single film cannot be betted to take the top prize and it remains to see which film the Academy would crown on the 2nd of March 2025.

The 97th Oscars: My Predictions for Film Categories

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.