For the fourteenth consecutive year, I have undertaken the task of watching, ranking, and reviewing all of the films nominated for Best Picture at the Academy Awards, commonly known as the Oscars. For the past two years, I have shared my reviews with readers of Obiter Dicta. I initially assumed that most would overlook these contributions; however, to my surprise, they have garnered some attention. I really appreciate everyone who has taken the time to read my thoughts.
The 97th Academy Awards ceremony is scheduled to take place on Sunday, 2 March. By the time this article is published, the event will likely have concluded. In my view, this year’s selection of nominees is underwhelming compared to previous years. Few of the films resonated with me and I found myself longing for when the category was limited to seven or, at most, eight nominees, rather than the current total of ten. Nevertheless, below is my third and final contribution to Obiter Dicta: a collection of concise, relatively spoiler-free reviews and rankings of the films nominated for Best Picture in 2025, arranged from least to most favoured
10. Emilia Pérez (Netflix)
Described by Rotten Tomatoes as a “musical crime thriller of genre-bending fascination,” Emilia Pérez follows three women in Mexico, all in search of something bigger than themselves. Starring Zoe Saldaña, Selena Gomez, and Karla Sofía Gascón, Gascón plays Emilia Pérez (formerly known as Juan “Manitas” Del Monte), a Mexican cartel leader who enlists lawyer Rita Mora Castro (played by Saldaña) to help her fake her death, undergo gender-confirmation surgery, and live an authentic life as a transgender woman.
Despite being a Spanish-speaking film set in Mexico City, French director Jacques Audiard demonstrates a limited understanding of the people whose story he seeks to tell. While the film is the most nominated at this year’s Oscars, with thirteen nominations, controversies surrounding Gascón have plunged it into a PR nightmare. As the first out transgender actor to be nominated for an Oscar, and nominated in the Best Actress category, the Spanish actor has faced significant backlash due to her controversial—and, frankly, bigoted—tweets. Additionally, Audiard has been criticized for his inaccurate portrayal of Mexican cartels and for oversimplifying the complex experiences of trans people navigating the process of embracing their true identities. Outside of the media frenzy, on its own, Emilia Pérez is one of the worst films I have ever watched. The singing is terrible, even after they used AI to improve the voices, the songs are random with oddly written lyrics, and the narrative is disjointed, failing to establish any meaningful emotional connection. Reviews from critics starkly contrast with audience reactions online, where the film scores 5.5/10 on IMDb and averages 2.1 stars out of 5 on Letterboxd.
9. Anora (Neon)
“A young escort from Brooklyn meets and impulsively marries the son of a Russian oligarch. Once the news reaches Russia, her fairy tale is threatened as his parents set out for New York to get the marriage annulled.” The IMDb summary is a fairly accurate account of the entire film. Directed by Sean Baker (known for Tangerine and The Florida Project), I found myself indifferent to the hype surrounding Anora and Mikey Madison’s portrayal of the character. For me, it was an enjoyable film but lacked the necessary depth to rank any higher on my list. If I were to truly put my philosophical hat on, I would argue that it is a dark and complex story that unfolds gradually and has nothing to do with romantic love. While the pacing feels slow at times, the small moments come together to expose the mind of a young, broken girl who struggles to make genuine connections and longs for a space where she is heard, seen, and valued. In reality, it’s funny, sad, entertaining, and a bit of a chaotically good mess.
8. A Complete Unknown (Searchlight Pictures)
This biographical drama stars Timothée Chalamet as he portrays the early life and rise to fame of American singer-songwriter Bob Dylan. I must admit that before watching this film, I knew very little—if anything—about Bob Dylan, Woody Guthrie, Pete Seeger, or Joan Baez. Overall, it was an engaging watch. The music was beautifully executed, and the actors fully committed to their roles. My main criticism of the film is its lack of a more intense narrative arc or climax. The most significant point of conflict occurs when Dylan unveils his shift from acoustic folk to a more rock-influenced electric sound at the 1965 Newport Folk Festival, which takes place toward the end of the film. This moment, while historically significant, felt somewhat underwhelming as the narrative’s peak. I did appreciate the film’s dedication to depicting artistic integrity. In an era before streaming and online virality, success was about moving to the city armed only with your guitar, your voice, and a dream of creating something meaningful that resonated with listeners.
7. I’m Still Here (Sony Pictures Classics)
I’m Still Here, or Ainda Estou Aqui in Portuguese, is a political biographical drama based on Marcelo Rubens Paiva’s 2015 memoir of the same title. Adapted for the screen by Murilo Hauser and Heitor Lorega, the film invites viewers into the life of the Paiva family. Living by the seaside in Rio de Janeiro, former Congressman Rubens Paiva and his wife, Eunice, are raising their five children amidst the aftermath of the Fourth Brazilian Republic as the country endures a military dictatorship.
Amid rising political instability and the disappearance of foreign officials, the Paiva family’s home is raided in 1971, and Rubens is taken into custody. Days, weeks, and eventually months pass, yet Rubens does not return, and no information about his whereabouts emerges. After Eunice herself is kidnapped and questioned for twelve days, she makes the difficult decision to uproot her family and move to São Paulo. Decades after her husband’s arrest and disappearance, Eunice continues to advocate on his behalf, refusing to stop until she finds closure. Visually stunning and emotionally raw, I’m Still Here presents a powerful narrative of resilience and perseverance. In retrospect, I wish I had a deeper understanding of the Brazilian Armed Forces’ 1964 coup d’état before watching the film, as it would have allowed me to focus more on the personal story and less on deciphering the political context.
Directed by Walter Salles, I’m Still Here is also nominated for Best International Feature.
6. Nickel Boys (Amazon MGM Studios)
Based on Colson Whitehead’s 2019 Pulitzer Prize-winning novel, Nickel Boys is a historical drama that explores the friendship between two African-American boys at Nickel Academy, a reform school in Florida. Set in 1962 during the Jim Crow era, director RaMell Ross takes a creative and experimental approach to bring to light the events that occurred at Nickel Academy, which is based on the real-life Dozier School. Filmed from a first-person point of view, the story begins by following Elwood Curtis, a bright student actively involved in the Civil Rights Movement and raised by his loving grandmother. One day, while hitchhiking to school, he accepts a ride from a stranger who is soon pulled over by the police for driving a stolen car. Wrongly assumed to be the man’s underage accomplice, Elwood is sent to Nickel Academy, where segregation is strictly enforced. Black boys live separately from white boys, with the former subjected to emotional and physical abuse and—in extreme cases— death.
At Nickel Academy, Elwood befriends Turner, and the film occasionally shifts to Turner’s perspective. Determined to be freed, Elwood keeps a detailed account of his experiences, while Turner urges him to keep his head down and wait it out, explaining that there are only four ways out of Nickel: “Serve your time—or age out. The court might intervene—if you believe in miracles. You could die—they could kill you. You could run.” The narrative alternates between the 1960s and the early 2000s, where we observe an adult Elwood living in New York City as he learns of a government investigation into Nickel Academy’s dark history.
While I appreciate the film’s effort to raise awareness about an often-overlooked chapter of history, the first-person filming style made it challenging to emotionally connect with the characters. Rather than becoming fully invested in the story, I found myself distracted by the frequent perspective shifts, trying to determine whose point of view we were experiencing. Despite this stylistic choice, Nickel Boys is a powerful and thought-provoking addition to the Best Picture category and is certainly worth watching.
5. Conclave (Focus Features)
A conclave is defined as “a private meeting or secret assembly; especially: a meeting of Roman Catholic cardinals secluded continuously while choosing a pope.” Directed by Edward Berger, Conclave tells the story of precisely that. When the pope dies of a heart attack, the process of electing his successor is swiftly organized. Electing a pope is no simple task, as divisions arise among the cardinals along national, racial, and ideological lines. As secrets about the leading candidates are revealed, tensions within the sequestered College of Cardinals intensify. However, the arrival of a newcomer with a unique past ultimately unifies the group. Ranked in the middle of my list, Conclave is a solid film—neither extraordinary nor disappointing. It delivers a well-crafted narrative with little to criticize. With eight nominations, it is likely to walk away with at least one award.
4. The Substance (Mubi)
On the surface, The Substance should be much lower in my rankings. However, nothing could have prepared me for what this film delivered. While I had heard rumours of its graphic content, it redefines the meaning of gore. The incomparable Demi Moore graces the screen as Elisabeth Sparkle, a faded Hollywood star whose age is beginning to work against her. After being introduced to ‘the substance,’ an underground drug that promises eternal youth, Elisabeth injects herself with the mysterious green serum. This triggers her body to grow a younger version of herself, which grotesquely emerges from a cut down her spine. In short, the two bodies share one mind but cannot be active at the same time—they must switch every seven days, or else bizarre and disturbing side effects occur. The younger version, named Sue, quickly rises to fame. Addicted to the feeling of being desired again, Elisabeth grows to resent the time she must spend as her older self, ultimately allowing Sue to take over for longer than the permitted seven days.
While the film serves as a commentary on societal pressures, image, aging, and beauty standards, it is also both hilarious and revolting at the same time—a rare achievement.
3. The Brutalist (A24)
With a total runtime of 3 hours and 35 minutes, The Brutalist is a genuine work of art. Split into two parts, with a 15-minute intermission between each, the film begins with architect László Tóth arriving in New York after surviving the Holocaust, having been separated from his wife, Erzsébet Tóth (played by the outstanding Felicity Jones), and orphaned niece, Zsófia.
In part one, László leaves New York to reestablish his life in Philadelphia. There, he lives with his cousin Attila and Attila’s wife, who own a furniture business. László and Attila are commissioned to design a library for the notable Harrison Lee Van Buren as a surprise for his birthday. However, upon its completion, Harrison is angered by the renovations done without his approval and refuses to pay for the work. Tensions escalate between the cousins, leading Attila to kick László out. With nowhere to go, three years later, we see László living in charity housing, addicted to drugs, and working as a coal labourer for minimal pay. The library is a distant memory. One day, Harrison appears at László’s worksite, apologizes for his actions years earlier, pays him for his labour, and reveals that he has become aware of László’s architectural work in Europe before the war. Harrison invites László to his home, where he commissions him to design a community center, The Van Buren Institute, in honour of his late mother.
Part two begins with Erzsébet and Zsófia arriving in America after a friend of Harrison’s, a lawyer, helps László with the immigration process. The construction of the community center brings many hardships for László and strains his relationship with Harrison as the project goes greatly over budget. A legal dispute leads Harrison to abandon the project, prompting László, Erzsébet, and Zsófia to move to New York City. Years later, Harrison resumes the project, and László returns to complete the work. However, the dynamic between the two men shifts significantly after a trip to Italy to purchase marble. When a traumatized László returns, Erzsébet confronts Harrison about his actions in front of his family, causing him to flee. While the Van Buren Institute is ultimately completed, we are left to question at what cost. The epilogue jumps to the 1980s, when László is recognized for his later accomplishments and decades of work.
My only major displeasure with the film stems from the controversial use of AI to improve the actors’ Hungarian accents. Additionally, the pacing of part two felt off and rushed compared to the more measured pace of part one. I watched this film at 11 a.m. on a Tuesday, with few people in the theatre, aside from myself and a handful of cinephile retirees. Upon the film’s completion, I was almost certain the end credits would reveal it was based on a true story. To my surprise, the entire narrative was fictional. There is something truly powerful about a filmmaker’s ability to create a story so realistic that it makes you question whether it is based on reality. For that alone, director Brady Corbet deserves recognition.
2. Wicked (Universal Pictures)
As someone with a strong aversion to musicals and a dread of knowing that at least one will be nominated for Best Picture each year, Wicked exceeded all my expectations. Admittedly, I had never seen the original production and was unsure how it related to The Wizard of Oz, but I soon learned that Wicked serves as a prequel, exploring the origin story of the Wicked Witch of the West, Elphaba, and Galinda the Good. Elphaba and Galinda first meet as teenagers at Shiz University, where they are initially forced to be roommates. The two are not friends at first, but after a dance and song performed in front of their peers, they become inseparable. The plot takes a dramatic turn when they visit the Emerald City to meet the Wizard, and Elphaba uncovers the truth: the Wizard is responsible for the destruction of Oz’s talking animals. Writing that sentence alone feels almost ridiculous, and I almost regret ranking this film as highly as I did. Determined to reveal the truth, Elphaba is framed as the villain, leaving Galinda to rise as the favourite of Madame Morrible, Shiz’s Dean of Sorcery Studies.
While the storyline involving talking animals and magic might seem absurd, the production value of Wicked is undeniably impressive. Cynthia Erivo and Ariana Grande truly embodied their roles, so much so that they remained in character while filming the sequel, which is set to be released later this year. Additionally, both sang live during filming rather than lip-syncing to pre-recorded tracks, which added authenticity to their performances. The costumes, set design, and moments of unexpected comedy set this film apart from the rest of the Best Picture nominees.
1. Dune: Part Two (Warner Bros.)
At the top of my list is Dune: Part Two. When Dune: Part One was nominated for Best Picture in 2022, I ranked it fourth. Expecting Part Two to land somewhere in the middle of my rankings as well. In fact, before watching Part Two, I watched a recap of Part One because I had completely forgotten the plot. I was shocked by how much better it was compared to the first film. From the cinematography to the sound, the visual effects, and the acting—this film had it all. I enjoyed it so much that I struggle to find the words to describe just how well-produced it is. It is a must-watch for anyone who appreciates masterful filmmaking. My one disappointment, however, is that the film was not nominated for Best Original Score. Hans Zimmer once again outdid himself, delivering a soundtrack that elevates the entire experience. However, the Academy deemed it ineligible due to the reuse of music from Part One, for which it had already received a nomination.
Personal favourites that I am rooting for:
Best Picture – Dune: Part Two
Directing – Brady Corbet (The Brutalist)
Actor in a Leading Role – Colman Domingo (Sing Sing)
Actress in a Leading Role – Demi Moore (The Substance)
Cinematography – The Brutalist
Original Screenplay – The Brutalist
Adapted Screenplay – Sing Sing
Production Design – WickedSound – Dune: Part Two
