Who Deserves to Win Best Picture at the Oscars
1. Anora - Chloe Costa Baker
Of all the Best Picture contenders, Sean Baker’s Anora is one that will both dazzle your senses and linger in your mind. For Anora manages to do multiple things well, a sparkly fantasy that keeps your attention even—and especially—when the glitter turns to grit. Centered on Ani (Mikey Madison), an exotic dancer in New York City, the film spins the story of her elopement with Vanya (Mark Eydelshteyn), the endearingly immature son of Russian oligarchs. The conceit and unraveling of this union unfolds before our eyes as the filmmakers manipulate time in a manner that mirrors the protagonist’s experience. Alongside Ani herself, we find that a couple of weeks can coalesce into a blissful, fleeting montage, while twenty-four hours of fallout can spiral into a chaotic eternity. Throughout, Madison’s brilliant Ani never ceases to command the screen with her strong will and sharp tongue, a woman who may let herself fall headfirst into a fairytale, but will fight kicking and screaming to keep it. This culminates in a complicated and unforgettable conclusion, just contentious enough to spark critical conversations that transcend the movie theater. Humorous and humanizing, the film’s captivating authenticity is a testament to production choices guided by intention and care for all its subjects: Madison’s dedicated cultural and linguistic research into strip clubs, Brooklyn, and the Russian language; the astute casting and fantastic performances of the Russian and Armenian talent; the decision to cast real-life sex workers as supporting characters. Heartbreaking, hysterical, and viscerally memorable, Anora leaves a lasting impression that not only resonates internally but reverberates culturally, and for that it is surely deserving of the Best Picture accolade.
2. The Brutalist - Dri de Faria
Brady Corbet’s eight-year magnum opus embodies what we love about great filmmaking. Covering a broad swath of time, culture, and theme, The Brutalist is a true cinematic spectacle that reminds us of why we watch movies. Corbet achieves the ambitious task of making the specific universal. The speculative history of László Tóth, a Hungarian-Jewish Holocaust survivor and architect, carefully balances the exorbitant parade of American capitalism with the bitter realities of post-war immigration. Somehow, amidst business deals and building plans, our profound hope for Tóth and his family is not lost. We love his unique architectural style because we love seeing what a brilliant creative mind can do. As one himself, Corbet places us in the mind of Tóth, guiding Adrian Brody’s masterful performance. Watching the film felt at once like a celebration of American industrial power and a funeral for the harm it's caused. Many films attempt to answer to the ills of the American dream—but The Brutalist offers a candid, raw, and (might I say) brutal response without sacrificing breathtaking visuals. The Brutalist deserves the Oscar because it is the paragon of filmmaking, earning itself a critical place in the history of the medium.
3. A Complete Unknown - Navya Sahay
The beauty of the biopic A Completely Unknown does not lie in its storyline although it is interesting, nor wholly in its captivating topic: Bob Dylan. Instead, the film is carried almost exclusively by the performance of its lead — Timothee Chalamet. The minute I heard his wonderful embodiment of Dylan’s characteristic rough voice that somehow was emboldened into a deeper sound in his songs, I knew I was watching something special. The brilliance of the acting performances and renditions of Dylan’s best music in the film perfectly fixes the beauty of the folk scene, as well as the politically charged atmosphere of the sixties into an a timeless, vivid narrative. For this alone, the film should win best picture. Many films are great and smart and sensitive, but rarely do we find movies that are just beautiful to watch. The film is not a traditional biographical one, focusing instead on a specific period in Dylan’s life — his rise as a folk musician up until the pivotal point where he first (controversially) used an electric guitar at the Newport Folk Festival. We see Dylan’s indoctrination into folk music through the likes of other musicians like Seeger hoping to preserve a dying art form. We see his alienation from its restrictive rules after a period and his distaste for being used for any kind of agendas. But really, beyond these struggles and tensions, the film clearly shows the culture and unrest and below-the-surface feelings of the American people that one of the country’s greatest songwriters effortlessly absorbed and captured to create brilliant music. Chalamet is a force to be reckoned with here. His voice, his entire demeanor is Bob – disenchanted, intelligent, snarky Bob who is the exact opposite of Timothy's eager, young media image. After watching the film, I compared his rendition of Dylan’s songs to the originals and I barely noticed any differences. The film definitely made me curious to hear more of Dylan’s music and I suspect it will have the effect on most audiences of this and future generations that are not as familiar with Dylan and his origins in folk music. If the film is able to contribute even slightly to preserving and spreading Dylan’s legacy as I suspect it will, I think it deserves recognition at the awards this year.
4. Conclave - Keanu Huynh
Are you disillusioned with the fractured state of the United States of America? Do you wake up every morning with debilitating fear about what the price of eggs will be in the next two seconds? Well, never fear! Conclave is here, the second most important movie about religion since Steve Buscemi said “Do you think God stays in heaven, because he, too, lives in fear of what he’s created here on Earth?” in Spy Kids 2. Why not take your mind off of the real world and watch a movie about the Catholic Church, only the second most corrupt institution in the world. Let yourself relax from real world chaos and watch a movie about a hundred old men arguing and backstabbing as they’re locked in a voting gridlock to pick the lesser of two evils for pope! Prepare to be mesmerized by the sweeping cinematography of the Sistine Chapel, capturing the sheer weight of the world resting on Cardinal Lawrence’s shoulders. In between those shots you can marvel at the performances of its star-studded cast of old men and think to yourself, “I’m pretty sure I know that prestigious actor, but unfortunately I only recognize him from some really embarrassing movie for babies. Oh wait, that's definitely Stanely Tucci from the 2014 movie Transformers: Age of Extinction”. Or, you can think to yourself, “So what’s the difference between a cardinal and a bishop?”. But before you know it, you’ll be transfixed in the time-honored tradition of vicious mudslinging, because Conclave understands that what gets people hooked more than anything is celebrity gossip. Who can’t help but watch as someone loses everything they’ve ever dreamed of because they have a secret baby? Conclave isn’t just a film about faith—it’s about power, scandal, and the high-stakes game of religious succession. Conclave deserves best picture because by the end it’ll have you saying “Jesus Christ, I’m watching a movie about the Catholic Church electing the pope and I’m actually digging it”.
5. Dune Part Two - Dillon Sheekey
The week following my first viewing of Dune 2 involved four more: first to show my parents, then a friend, then my sister, and finally—believe it or not—using an Apple Vision Pro, which offered the next best thing to IMAX. I was eager for everyone to see the film, to revel in the breathtakingly expansive landscape of Arrakis, in Hans Zimmer’s striking score, and in the final epic showdown between Paul and Feyd-Rautha. Director Dennis Villeneuve expertly balances large and small scales, juxtaposing the vastness of Giedi Prime and Arrakis against the intimate character dynamics among the Atreides family, Fremen, and Harkonnens. Timothée Chalamet delivers a commanding performance as Paul, conveying first a fragile vulnerability followed by a ruthless determination, while Austin Butler’s Feyd-Rautha is chillingly magnetic, shedding his Elvis persona for a feral, sadistic menace. Zendaya’s portrayal of Chani provides the emotional core of the film, anchoring the expansive narrative in a deeply human story of love and disillusionment. And let's not forget about Rebecca Fergusen as Lady Jessica, whose piercing gaze commands every scene. I can now proudly say that I am a Dune aficionado, and that it 100% deserves to win best picture!
6. Emilia Pérez - Will Havens
Emilia Pérez deserves to win the Oscar because there is nothing else like it, and that's worth celebrating. The film persistently defied all of our expectations, morphing between genres with delirious abandon – at one moment it's a gritty crime thriller about drugs and corruption, the next it's a comedic musical about a sex change operation, then suddenly a family melodrama steeped in telenovela excess. Except, morphing isn’t even the right word because Emilia Pérez is all of these things at once. It's simultaneously sincere and satirical, tender and crass, intimate and operatic all at once. But this whirlwind structure doesn’t just serve to confuse the audience. On the contrary, this structure helps support the film as it desperately tries to show complexities of self-actualization. The film’s plot is utterly genre-bending and disarming, its cinematography is over-the-top and even campy, its lyrics and melodies are often clunky and disjointed – but that is precisely the point! The film is meant to be messy and divisive because becoming oneself is messy and divisive. Through Emilia's journey, the film explores the universal struggle of reconciling who we were with who we want to become, but refuses to offer easy answers or tidy resolutions to ease our discomfort. Sure, some of the film’s bolder swings miss their mark, but these imperfections are the natural result of a film with such bold ambition. Put another way: yes, Emilia Pérez is a mess, but it's a glorious, daring mess and it deserves to win the Oscar.
7. I’m Still Here - Elisa Carroll
When the current state of the world feels so heavily saturated by escalating despair and socio-political uncertainty suffusing into our everyday lives, I’m Still Here stands as a triumphant and deeply moving reminder of the power of family and the resilience of the individual in the face of social unrest and systemic oppression. Rooted in a true story and based on the novel of the same title, the film follows Eunice Paiva (Fernanda Torres) as she navigates her husband’s disappearance by Brazil’s tightening military dictatorship in the 1970s. Although technically a historical piece, its relevancy resonates as saliently contemporary. Its arresting visuals, patient pacing, and a powerhouse of performances embolden the film’s already compelling narrative and emotional depth, paling the competition and propelling I’m Still Here, the first South American film to be nominated for Best Picture, to earn its rightful place as the most deserving recipient of the Academy award. Oscillating between tender and glowing sanctuarial moments of the family against the ominously eclipsing terror of the totalitarian regime, the film strikes a balance that is equally despairing and impressible. Its opening scene dips the audience in the calming and rhythmic sound of rolling waves belonging to the bright blue Rio water, where Paiva floats, held by the steady current of the ocean and the cheerful laughter of her family offscreen. The peacefulness is abruptly shattered by the ominous roar of military helicopters overhead, injecting an immediate sense of impending doom into the tranquil setting and establishing a persistent undertone of conflict and foreboding that resonates throughout the film. Fernanda Torres burns from the screen and is the driving force of the film, delivering a performance that so poignantly portrays a ferocious strength of a mother, wife, and human being, meriting her undeniable nomination for Best Actress in a Leading Role. I’m Still Here not only mirrors the tensions of its era but also serves as a beacon of artistry and storytelling that transcends geographical and temporal boundaries, weaving personal tragedy that shines from Torres’ surging portrayal with broader socio-political narratives. With a story of this emotional caliber that deeply moves, coupled with a performance as raw and compelling, it would be impossible not to recognize its exceptional artistry and rightfully crown it as the Best Picture winner.
8. Nickel Boys - Max O’Donahue
First and foremost, shout out to our very own RaMell Ross, Associate Professor of Visual Art at Brown University, for making the best film of the year, and for simply being a bonafide genius. Nickel Boys, Ross’ feature film debut, is a harrowing adaptation of Colson Whitehead’s Pulitzer Prize-winning novel, exposing the horrors of a Jim Crow-era reform school through the story of Elwood Curtis, an idealistic Black teenager whose life is upended by a wrongful conviction. At this reform school, Elwood befriends Turner, a street-savvy and cynical boy who teaches him the hard truths about survival, setting the stage for a gripping meditation on resilience, morality, and the weight of systemic injustice. Notably, Nickel Boys is shot entirely from a point-of-view perspective—a revolutionary cinematographic choice by Ross. By situating the viewer in a fixed, objective perspective, the film is imbued with a sense of truth. The audience has no choice but to adopt the characters’ suffering as their own, rendered with an unvarnished authenticity. Watching Nickel Boys feels more like a lived experience than an interrogation of a constructed narrative—a truly unique, experiential viewing. Most impressive is Ross’ propensity for restraint; his direction is measured, favoring long, unbroken takes that linger just enough to let the horror or quiet humanity of a moment settle in. Furthermore, the use of archival footage and montage, further situates the film in reality, grounding Elwood and Turner’s story within the broader historical context of racial injustice. These elements function as more than just stylistic flourishes; they serve as stark visual reminders that the horrors of Nickel Boys are not confined to fiction but are part of a documented, lived history. In a filmmaking year dominated by spectacle, and grandiose direction, Nickel Boys stands apart as a testament to the power of restraint, truth, and radical empathy—whilst also a formally revolutionary contribution to cinema. If the Best Picture category is meant to honor cinema at its most revelatory, resonant, necessary, then Nickel Boys is not just a contender—it is the only choice.
9. The Substance - Rachel Kamphaus
When Coralie Fargeat zooms in on Dennis Quaid’s spittle as he crunches into a half-peeled shrimp, it’s clear that the director of The Substance wants to gross you out. This early scene is only a mild sampling of what’s to come in this hit feminist body horror. From there, the film only gets nastier and bolder, showing us an unflinching and monstrous portrayal of bodies pushed to their extreme: pierced with needles, leaking with puss, splitting apart and mutating, giving birth out of places not meant for reproduction. The whole movie ends in a spectacle so bloody it's hard not to feel queasy. But behind all this gore is a feminist message about the pressure women feel to fight against the aging process, and the drastic measures they will take to stop the clock. The Substance is bold, brilliant and bloody as hell. The Oscars wouldn’t dare award it. But my god, they should.
10. Wicked - Gaby Richter
Since its Broadway debut in 2003, Wicked has been a staple within the world of “theater kid” pop culture. Receiving 3 Tonys and a Grammy for its smashing hits, Idina Menzel and Kristen Chenoweth’s performances immediately became iconic pieces for your local high school cabaret show. From “Popular” to “What is this Feeling?”, the newly adapted musical-to-screen film Wicked follows the untold story of the two witches of Oz, Elphaba (Cynthia Erivo) and Glinda (Ariana Grande). These two polar opposites form an unforeseen friendship after meeting in Shiz University, navigating drama with Prince Fiyero, growing roommate tensions, and the increasingly troublesome political climate in the world of Oz. Following Ariana Grande’s mid-2010s pop music career, many were intrigued to see her step into the demanding vocals of theatrical performance. I truly believe both female leads gave an amazing, dedicated performance full of life for both unique personalities, reminding me of my 11-year-old self intently watching this live on the Gershwin stage whilst performers paraded around. Despite the unassuming appearance of the film’s splash of pastel tones and vibrant set design, Wicked explores a complex array of themes such as self-discovery addressing prejudice when it comes to the adversity Elphaba endures for having green skin, and the discrimination faced by the animals in Oz. Likewise, the film also discusses the thought-provoking concept of good vs. evil and the gray matter that exists within the politics of Emerald City. Surpassing Mamma Mia!, Wicked has officially become the highest-grossing Broadway musical adaptation, exposing audiences from many backgrounds worldwide to the rabbit hole that is musical theater. TikTok trends and various “holding space” memes have been highlighting and further praising Erivo and Grande’s singing and acting abilities, which has brought Wicked even closer to the absolute epicenter of contemporary popular culture. I believe that hearing a cacophony of Brown students attempting the “Defying Gravity” riff in Sayles Hall proves that this film is absolutely deserving of the title Best Picture, which can properly demonstrate how it has resonated with audiences past the screen and into our everyday lives.
