Every March, the Academy of Motion Picture Arts and Sciences gathers in Hollywood to reflect on the movies, short films, and documentaries from the previous year, critiquing the best of filmmaking. The Oscars feature a wide range of categories, from sound and costume design to actor and director. I consider the night’s final award, Best Picture, to be the most prestigious. All the elements of filmmaking, costume design, visual effects, acting, editing, and most importantly, production, come together to comprise one award, the best picture of the year. The 2025 Oscars took place on March 2 to award the films released in 2024, and I took it upon myself to watch all ten films from the best picture category.
To preface, this article and its initial reviews were written before the 97th Oscars took place and are separate from the outcome of the awards. I have no formal background in filmmaking, but I do love and appreciate the art and am viewing these movies as an audience member. The opinions expressed are solely my own and are based entirely on the films themselves, not the performers, controversies, or prior bias.
The Nominees
Wicked is a film jam-packed with talent in every corner of the screen. Cynthia Erivo and Ariana Grandeâs vocals quite literally make me defy gravity; their performances are both comedic and profound and make the film fly by, despite the almost three-hour runtime. The set design throughout the film was unbelievably impressive, but I feel like certain scenes could have been improved with better lighting or directing. Despite the color, I cried throughout all of the Ozdust Ballroom and Defying Gravity scenes, and to this day, I think about this film with the highest regard.
A Complete Unknown was a film I didn’t quite know what to expect going in, but I was pleasantly surprised by how invested I was in Bob Dylan’s life. TimothĂ©e Chalamet’s ability to completely transform into any character is remarkable – he nailed this role. Although the stakes don’t seem very high on paper, and to be honest, I was a little hesitant before watching the film, you get completely absorbed in the story and the high tension from the changing music scene at the time. The climax of the film was executed well; my heart was pounding, I was on the edge of my seat, and I needed to know what happened next.
As much as I try to go into movies with an open mind, Emilia PĂ©rez was one that I had heard so much negativity about before I even started this project, and I became incredibly nervous to watch it myself. Overall, the story wasnât hard to follow, but I felt there were some thematic loose ends. My main problem with the film was that it doesnât feel like it should be a musical. Every time a song started, I felt like it went down in value, and most of the time, the songs felt out of place. There would be moments of beautiful cinematography and powerful acting, immediately followed by a scene I simply couldn’t take seriously. There are some truly great performances – ZoĂ« Saldaña was definitely a standout – but as a whole, it just doesnât compare to the other Oscar-nominated films.
Conclave was an engrossing and thought-provoking watch. Although the majority of the film is low-action and takes place within a couple of days, the tension in the air and complex power dynamics propel the story forward. What the film explored in faith and power, and especially in what the church stands for, was fascinating to watch unravel. The analysis of what this movie says about the church is so nuanced, and it was brilliantly done, but the subject matter is so complex that others do a much better job with handling its themes. This film intentionally left themes and events open-ended, which was done brilliantly, but I feel like some characters had the potential for great depth that wasnât fully explored – like Cardinal Lawrenceâs struggle with prayer.
Trying to review The Substance is difficult for me because I was so focused on not getting sick through the film. This movie doesn’t shy away from squeamish body horror and grotesque close-ups; if anything, it revels in that uneasy feeling. The camera work was crucial to this film’s storytelling, and Demi Moore doesnât hold anything back. The clinical, sterile feeling of some scenes sells the story. I was physically nauseous throughout the entire second half of the film, which, although it wasnât a pleasant experience, is a good indicator of how immersed I was in the atmosphere. Thematically, The Substance makes its purpose clear, but I think in the second act, the women’s drive gets a bit lost in the grotesqueness of it all.
Anora had me on the edge of my seat the entire time. The first act consisted of a large, loud, sassy montage. I was expecting the whole film to follow this bold style and was surprised when the second half began and chaos ensued. From the moment the Russian âgoonsâ entered the scene, the story transformed into a comedic, action-filled narrative that captivated me. Towards the end of the film, it starts to mellow out a little, while still keeping the comedic tone, and by the time the credits roll out, the depth of the story and Mikey Madisonâs performance feel like a punch to the gut. The dynamic of maintaining a fast-paced story while exploring the emotions of its protagonist was a difficult balance, but overall, it was done well.
Nickel Boys was a silent and powerful examination of the Jim Crow South through a first-person perspective, and a story that deeply touched me. The style of the movie says a lot without saying much; it immersed me in the story and unveiled its harsh truths through its camera work, enough so that by the end of the film, I was overwhelmed with emotion. There were shots dispersed throughout the movie that included real-life footage from the 1960s Civil Rights Movement and space exploration, which I thought were well incorporated and strengthened the narrative style the first-person perspective introduced. The last 20 minutes of this film were incredibly beautiful and profound. I think itâs brilliant that the final scenes of the film were a montage. Not much is said after the final events because nothing really needs to be said; the story and the injustice and horror speak for themselves.
Dune: Part Two was a continuation of the breathtaking cinematography and visual effects that appeared in the first installment of this series. I had not previously seen the 2021 film, so watching both movies and their progression of events was an intense experience. TimothĂ©e Chalamet does another great performance, but I was absolutely astounded by Austin Butler’s role. Although the film runs long, there is no scene or shot that isn’t impressive to view, which is only enhanced by the incredible score. I was immersed in the story, its tensions and weights, and had a great time viewing this film.
I’m Still Here was a heartbreaking Brazilian story, based on real events, that moved me to tears. The first half hour of the film was dedicated solely to examining the main family, their future plans, dynamics, and joyful memories. Then, the devastating reality of the Brazilian dictatorship shattered this peaceful picture. Every single cast member in this film did a phenomenal job, from the captivating Fernanda Torres to the young children, whose performances drove the story and emotions forward incredibly well. The time it took to develop the family at the start of the film effectively makes the audience part of this dynamic, making the rest of the film that much more heartbreaking to witness. I’m Still Here was a powerful and moving film that immersed me in its desolation and deserves the utmost praise.
I don’t know what it was about this film, but I think The Brutalist simply wasn’t for me. Although it has a long run time, I didn’t feel that there were any unnecessary scenes or subplots that could have been cut. The acting was great, the visuals were beautiful, and the story was compelling, but the film overall isn’t one I have thought about much after leaving the theatre. Even when trying to reflect on the movie, I don’t remember the majority of what happened in Part 1 before Felicity Jones entered and absolutely dominated any scene she was in. Her performance was phenomenal, and she had a very powerful scene near the end that gives me chills just thinking about it. Overall, it was a solid film with a great score and unique cinematography, but besides Jone’s performance, it gets lost among the rest of the nominees.
Final Thoughts and predictions
In the end, this experiment was an ambitious project that taught me a lot about filmmaking and the wide range that movies can possess. My personal pick for 2025 Best Picture would be Iâm Still Here, the Brazilian film directed by Walter Salles. It’s a story that I have thought about nonstop since I left the theater, and it taught me so much about history through its compelling script, performances, direction, sound, and editing. This movie will stick with me forever.Â
I also think Nickel Boys was very well done, and I would be happy if this film took the award. My other favorites from the nominees are Wicked, A Complete Unknown, Conclave, and Anora. If any of these films won Best Picture, I would call it a successful night.