Are you being emotionally manipulated? Why an Oscar contender is splitting opinion about emotional response
Despite critical acclaim and several Oscar nominations, Hamnet has fiercely divided some audiences – with some accusing Choe Zhao's film of 'emotional manipulation.' Are there actually any grounds for that?
If you've been following the ongoing awards race, you can't have escaped the fact that Jessie Buckley has been lavished with acclaim for her leading turn in Chloé Zhao's film Hamnet. The drama – adapted from Maggie O'Farrell's 2020 historical fiction novel of the same name – sees the Irish actress take on the role of Agnes, the wife of William Shakespeare who experiences unimaginable tragedy when her titular son dies from the bubonic plague. After debuting at least year's Telluride Film Festival, early word on the film, and especially its devastating emotional impact, was ecstatic. Our own 5-star Radio Times review was full of praise – with critic James Mottram calling it a "masterly study of loss". He added: "The finale, all set around a stage performance, lives long in the memory, making this quietly-hewn movie feel utterly wrenching." That verdict was by no means an anomaly. The film was met with a wave of extremely positive reviews, many of which emphasised the sheer visceral nature of the grief depicted by Buckley's performance as Agnes. Meanwhile, there were many reports of cinemagoers leaving their screenings in floods of tears and needing considerable recovery time before continuing about their days. Unsurprisingly, a glut of award nominations followed; for the film itself, for Zhao's direction, and of course for Buckley's leading turn – with Paul Mescal also picking up several nods for his supporting turn as Shakespeare (although he was snubbed by the Oscars). View Green Video on the source website But despite all this acclaim, a dissenting opinion soon began to emerge. A number of pieces surfaced that referred to the film as "grief porn" or "trauma porn", with some pundits revealing how they found it to be an exercise in "emotional manipulation". One particularly critical piece in The Independent described it as "artificial and manipulative Shakespeare fan fiction". As is often the way with these things, a fierce social media debate kicked off in response. Aren't all films, by their very nature, in the business of manipulating emotions, one side argued. Naysayers suggested it was a lack of subtlety that was the problem, with the film designed purely to elicit a strong emotional response without handling the film's themes with more care or depth. At Radio Times, our own writers were divided. Katelyn Mensah, senior entertainment and factual writer, was firmly in the pro-Hamnet camp. "[I found it] emotional from start to finish," she tells me, adding that it was Buckley’s portrayal of Agnes that had especially moved her. "What makes it so moving is that in the scenes before his death, Hamnet exchanges the illness from his sister, giving his life for hers – and to see a young child display such fearlessness stuck with me," she continues. "It’s the raw emotion through Buckley’s portrayal from the moment Hamnet dies to the moment Agnes sees Hamlet at the Globe that carries the movie’s emotional weighting." As for whether the film is guilty of emotional manipulation, she said that while understanding that the impact may differ from viewer to viewer, the film "doesn’t force you to feel sad about what’s happened". "Grief isn’t linear, there is no ‘routine’ way to deal with the loss of someone, let alone the loss of a child, so there is no ‘routine’ way to respond to it when it’s presented in the arts, whether it be theatre, cinema or on television," she says. On the other extreme, senior film sub-editor and writer Calum Baker found that while he appreciated the clear, handmade quality of the film and the work of it's set designer and cinematographer, he was frustrated that it was told in "too broad [strokes] to find any specific texture or real insight". "For the most part, the film seemed to graft a modern emotional sensibility onto a particular (if mostly imagined) historical situation, which made it all a bit too glib for me, which was a shame as a lot of the narrative ideas were good," he explains. Of the "would-be cathartic play performance" that serves as the film's emotional climax, Baker adds that he felt it "was built from shallow ideas and emotional conveniences". He continues: "Not once did I feel immersed, and functionally believe these events were happening to people; instead, I felt their planning, writing, staging and acting at every turn — their sheer contrivance." Given these emotional responses to the film have differed quite so widely, I was intrigued to hear the perspective of someone with a more psychological background, particularly to get into this idea of emotional manipulation. And so I consulted Robin Banerjee, an academic at the University of Sussex, who has carried out extensive research into the emotional impact of film and TV on the public. Interestingly, Banerjee's own response to the film had been strong. "I was really moved by it," he says. "I thought it was really emotional. I reacted emotionally to it, and so did pretty much everybody in the cinema. It was a very powerful film, and it obviously did pull on people's emotional connections. It did kind of draw things out in terms of how people were feeling." Regarding the accusations of emotional manipulation, Banerjee said while he considered it an "interesting take", it was not one he was inclined to agree with. "My own perspective is that there's nothing new here, right?" he says. "Every [piece of art] draws on your emotional experiences. That's what it means to read a book, that's what it means to watch TV. I mean, that's what it's designed to do. Of course, it's designed to tap into our emotions. "And some films are going to be doing that much more than others, and some will be intended to do that much more than others," he continues. "I feel so much content that's out there, whether it's films or books or podcasts or TikTok videos, so much of it is based on tapping into people's emotional experience, and that's how media works." He added: "My perspective is that human beings are too complicated. It's going to be an individual experience, and what's too much for one person is going to be completely neutral, or not much of a reaction for another person. So I would be really, really cautious about putting media content into buckets and say this is over the line. "As a psychologist, I would definitely not feel comfortable to say, 'This is over the line. It's too emotional. This is going to be too moving.' I think that would be not a smart thing to do." Banerjee also points to the work he had previously done with Radio Times for the Screen Test, a groundbreaking research project that was carried out in 2023 with the aim of exploring the power of television and radio in people’s lives. "One of the things we found in the Screen Test was that there were real variations in the level of empathic connection with what people are seeing on screen," he says. "I think those emotional responses are really, really important, and some of them are definitely more powerful than others, and some are meant to be more powerful than others, and I don't think we should apologise." So what's the conclusion? Can art really be emotionally manipulative? And if so, is Hamnet guilty of such a thing? Perhaps the simple answer is that looking at things through this lens is slightly missing the point. All art is manipulative to some degree by its very nature, and it simply depends on how much the individual viewer buys into the sincerity and the believability of the scenario being played out in front of them. Any number of factors can feed into that, and personal experiences and artistic preference has always meant that two different people can have entirely opposite emotional responses to the same material. Is it really fair to dismiss someone's genuine reaction by telling them, "Aha, but you've just been manipulated into thinking that way!' Even Baker, who had the most anti-Hamnet stance of those I spoke to, wasn't so sure we should be looking at things quite in this way. "'Manipulation' is not necessarily the word I would use," he says. "On the contrary, it often felt rather hands-off to me, as if the filmmakers had gotten halfway through the conceptualising or the staging of a scene and given up, deciding it was merely good enough." At this point, perhaps I should confess that though there was plenty about Hamnet I greatly admired, I myself felt a little emotionally distant from the no doubt devastating events that were happening on screen. Indeed, there are many other films in the best picture line up at this year's Oscars that elicited a more profound and strong emotional response from me, including – in different ways – both Sentimental Value and The Secret Agent. There are a few reasons why Zhao's film didn't quite click for me in the way it did for others, not least the fact that the extremely sombre tone adopted for the whole piece felt to me almost oppressively overbearing. But again, that seems to me to be a matter of individual taste rather than anything more significant. Perhaps then, it's best to retire the word "manipulative" – or at least be a little more selective about when we use it – when it comes to reviewing art. There are frankly better ways of articulating why something didn't work without insulting the genuine emotional responses of other viewers, many of whose reactions will be rooted in personal circumstance. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
The Oscars completely snubbed the year's most daring film – and it doesn't make sense
There's just one problem with this year's Oscar nominations...
Add The Testament of Ann Lee to your watchlist Every Oscars season, us film fans are met with the inevitable snubs: from films of certain genres not being considered serious enough, to quiet, brilliant performances being dropped in favour of louder ones that sit within the rigid framework of what the Academy considers 'worthy'. Of course, we’re also then often met by the rogue choices that leave everyone blinking in disbelief at their television screens. (I, for one, received a few surprised texts when one certain Best Picture nominee was read out this afternoon…). This year, however, one particular snub has stuck out like a sore thumb – Mona Fastvold’s The Testament of Ann Lee. And not only was Ann Lee snubbed – it was completely ignored from the nominations list, with its name not falling under a single category in this year’s slate. That’s right. Daniel Blumburg’s staggering, hypnotic score (which I actually have on in the background while writing this) was erased; Woman Clothed by the Sun, one of the most angelic original songs of the year (I challenge anyone to listen to it and try to tell me it’s inferior to any of the five nominees) was blanked, Fastvold’s writing and brilliant direction were both nowhere to be seen. Not even Best Actress, which once seemed the only category Ann Lee could get a look in, served plaudits. It is that latter snub for Best Actress that perhaps is the most shocking. Until about a month ago, Amanda Seyfried receiving an Oscar nomination for pouring her entire heart and soul into playing Mother Ann Lee felt almost inevitable. And yes, while the Best Actress category is undoubtedly stacked this year, Seyfried’s Critics’ Choice and Golden Globe nominations had me convinced that her flawless performance as the founding leader of the Shaker movement would get at least a small nod. To be clear, The Testament of Ann Lee isn’t some kind of niche, underground film that only four of your biggest cinephile friends have seen (not that obscurity would have made its snub acceptable, but you get my point). Instead, the film boasted a fantastic ensemble (with Seyfried joined by the likes of Lewis Pullman and Thomasin McKenzie), a respected director, and a career-best performance in Seyfried – a previous Oscar nominee, no less. Mona Fastvold herself is no stranger to the Oscars. In 2024, she left her creative fingerprints all over The Brutalist, which went on to be nominated for 10 awards at the Oscars the following year – including Best Picture. (Though admittedly, Brady Corbet was the director at the helm of The Brutalist, and the Oscars don’t have the best track record with celebrating female filmmakers). Ann Lee’s complete exclusion is even more surprising given its massive achievement. With such a small budget covering such an epic scope, the cinematography, music, performances and structure all work so deliberately and so uniquely together to create a film that is truly unlike any cinematic experience I have gone through – and it’s a magnificent shame that the Academy considers it unworthy of even the smallest recognition. View Green Video on the source website Of course, the Oscars have never been particularly intelligent in recognising work that does something completely new. Instead, they are so frequently occupied by films that repeat the same patterns, aesthetics and ideas over and over again, largely ignoring those that have the ability to reshape the way we see cinema. Because Ann Lee is billed as a musical about a religious leader, and it does take its risks, it therefore falls out of that comfort zone. But every risk the film takes pays off greatly – and in a cinematic landscape that is made up predominantly of regurgitated remakes and gratuitous sequels, each risk is more than welcome. The film’s huge ambition is what makes it so incredible. Ann Lee may truly be one of the most individual films I have ever seen. On my first watch, I found myself in desperate need to rewind and watch it all over again – and on my second watch, it made me sob – and honestly, even now, I struggle to articulate exactly why. There is just something so unflinchingly raw, strange and beautiful in its craft that it just goes straight through you. And while, yes, it may be less 'accessible' than films such as Hamnet and Frankenstein, such accessibility should not be a measure of its greatness. Now, I’m not saying that Ann Lee should completely sweep the awards board. As much as I’d personally welcome that, it’s an unrealistic expectation. A historical film so deeply concerned with female spirituality, leadership and music perhaps was never going to be an easy sell in an environment that prioritises films that do not favour those things. But to ignore the film completely – this year, the Academy have genuinely left me baffled.
How to watch The Secret Agent in the UK – release date for Oscar-nominated film
The Brazilian political thriller is up for Best Picture and Best Actor at the upcoming Academy Awards.
For the second year on the trot, the line-up for Best Picture at the upcoming Oscars includes an acclaimed Brazilian film – with Kleber Mendonça Filho's The Secret Agent following I'm Still Here in making it onto the 10-strong shortlist for the highly coveted award. Just like that earlier film, The Secret Agent is set in the 1970s and takes place against the backdrop of Brazil's military dictatorship of that era, with Narcos and Civil War actor Wagner Moura starring as a professor fleeing persecution after he finds himself embroiled in the political turmoil. In addition to the best picture nomination – and an unsurprising corresponding nod in the best international film category – the film is also up for a further two awards at the Oscars, including the inaugural best casting gong and the best actor prize for Moura. Moura will face tough competition from major stars including Timothée Chalamet and Leonardo DiCaprio for that latter honour, but he'll no doubt have plenty of support from fans of a film which has been receiving very high praise across the board. Intrigued and wondering how you can watch The Secret Agent in the UK? Read on for everything you need to know. How to watch The Secret Agent in the UK The Secret Agent is not yet available to watch in the UK – but there's not too long to wait. It will be released in cinemas from Friday 20th February, and given the boost the film has received thanks to it's Oscar nomination it should hopefully be playing at plenty of locations around the country – just check your local cinema to double check. The UK release comes nine months after it first premiered at the 2025 Cannes Film Festival – where star Wagner Moura was awarded the Best Actor prize and Kleber Mendonça Filho was named Best Director – and the praise for the film has only increased in the time since. It is being distributed by Mubi in the UK, which means it will eventually also be available on that streaming platform – but we're still awaiting a date for when it will be available to watch at home. We'll keep this page updated when we hear any more information on that front. What is The Secret Agent about? The film is set in 1970s Brazil, against the backdrop of the country's military dictatorship of that era, and is described as "a gripping portrait of resistance and betrayal" that explores "the tension between personal conviction and political corruption". The official logline reads: "A university professor travels from São Paulo to the seaside city of Recife during Carnival week, hoping to reunite with his son. "He soon finds out he’s been tailed and spied on by neighbours in his new refuge, leaving him no possible escape from the tentacles of corruption." The Secret Agent trailer You can get a taste of what to expect from the film by watching the trailer below: View Green Video on the source website The Secret Agent is released in UK cinemas on Friday 20th February. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
The Oscars should be about celebrating groundbreaking films – so why has Brad Pitt's unremarkable F1 movie been nominated?
The inclusion of the formulaic sports movie from Top Gun: Maverick director Joseph Kosinski is utterly baffling.
The term "Oscar-bait" is one that has been thrown around for decades when awards season rolls around. Traditionally, it was used to describe a film that was made with the express purpose of winning awards but with little thought for its lasting legacy beyond that. These films tended to be relatively safe true story period pieces or perhaps inspirational tales about an underdog overcoming terrible odds, and were generally defined by solid but unremarkable filmmaking and sentimental scripts that tended towards the formulaic. In other words, they were in-the-moment crowd-pleasers that pulled on the heartstrings but did little to truly shake up the film world. In recent years, however, the old criteria for what was considered an "Oscars film" has begun to shift, and the sorts of movies described above have largely been absent from the, admittedly, still imperfect best picture line-ups. Recent trends point to an Academy that is now more inclined towards auteur-driven cinema, international features and even films belonging to once awards-resistant genres like horror – just look at the monumental, record-breaking success of Sinners in today's nominations for one example of the latter. In keeping with these changes, this year's list of 10 films up for best picture includes plenty of nominees that deserve to be there – including Joachim Trier's incredibly moving family drama Sentimental Value and Paul Thomas Anderson's thrilling masterpiece One Battle After Another. And then, there's F1. View Green Video on the source website The racing picture's inclusion in the list has been treated by many pundits as baffling and – in this writer's opinion – with good reason: how on Earth is such a middling blockbuster worthy of a place among the finest 2025 had to offer? The film – which is directed by Top Gun: Maverick's Joseph Kosinski and stars Brad Pitt – was made in conjunction with the governing body of the titular sport, and that is very much apparent while watching: it plays as a branding exercise designed to increase the popularity of Formula One, rather than any sort of spectacular cinematic achievement. If nothing else, it must surely break the record for the highest amount of product placements in an Oscar-nominated movie. And while it might be unfair to disregard F1 outright – the racing scenes are filmed well, and the nominations in the editing and sound categories are perhaps fair enough – it seems bizarre to recognise a film which such a formulaic approach to storytelling as one of the year's best, especially when so many more audacious and interesting films have been left completely empty-handed (for example, Mona Fastvold's The Testament of Ann Lee, Lynne Ramsay's Die My Love, and Park Chan-wook's No Other Choice). In our 3-star review of the film ahead of it's release in the summer, we described it as "two-dimensional" and said of Pitt's central character: "There isn’t a great deal of depth to Sonny, a character forever teetering on the precipice of cliché." And cliché is exactly the word that comes to mind for just about the entirety of F1's bloated and predictable runtime: it's an empty spectacle, a well-crafted corporate exercise masquerading as a film. Frankly, it's more suited for an Advertising Award than an Academy Award. Of course, it's always worth mentioning that, as easy as it is to get swept up in – and as much fun as it can be to observe and debate – awards season has always fundamentally been a rather silly pursuit. In reality, it means little more than an excuse for Hollywood types to throw a bunch of glamorous parties and congratulate themselves, even if they do occasionally recognise some pretty deserving films in the process. So perhaps its a fool's errand to get too up in arms about any particular inclusions or omissions: a great film is a great film, and one's enjoyment of it or lack thereof needn't be dictated by how many accolades it is up for. But it's still interesting to keep track of these trends, and perhaps F1's inclusion points towards a new type of Oscar-bait: the populist choice. With fears that the ceremony is no longer as relevant as it once was – and viewing figures dwindling – there seems to be a recent push to recognise at least one overtly commercial movie alongside the more artistic fare every year (at risk of inviting the wrath of its passionate fanbase, I'd put last year's inclusion of Wicked in the same category.) And so, perhaps in this new era of the Oscars we're going to have to get use to seeing some pretty unremarkable – but undeniably high-grossing – films in the best picture line-up, often at the expense of more groundbreaking movies. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
Oscar nominations are out – there's just one problem...
Every Oscars season, us film fans are met with the inevitable snubs: from films of certain genres not being considered serious enough, to quiet, brilliant performances being dropped in favour of louder ones that sit within the rigid framework of what the Academy considers 'worthy'. Of course, we’re also then often met by the rogue choices that leave everyone blinking in disbelief at their television screens. (I, for one, received a few surprised texts when one certain Best Picture nominee was read out this afternoon…). This year, however, one particular snub has stuck out like a sore thumb – Mona Fastvold’s The Testament of Ann Lee. And not only was Ann Lee snubbed – it was completely ignored from the nominations list, with its name not falling under a single category in this year’s slate. That’s right. Daniel Blumburg’s staggering, hypnotic score (which I actually have on in the background while writing this) was erased; Woman Clothed by the Sun, one of the most angelic original songs of the year (I challenge anyone to listen to it and try to tell me it’s inferior to any of the five nominees) was blanked, Fastvold’s writing and brilliant direction were both nowhere to be seen. Not even Best Actress, which once seemed the only category Ann Lee could get a look in, served plaudits. It is that latter snub for Best Actress that perhaps is the most shocking. Until about a month ago, Amanda Seyfried receiving an Oscar nomination for pouring her entire heart and soul into playing Mother Ann Lee felt almost inevitable. And yes, while the Best Actress category is undoubtedly stacked this year, Seyfried’s Critics’ Choice and Golden Globe nominations had me convinced that her flawless performance as the founding leader of the Shaker movement would get at least a small nod. To be clear, The Testament of Ann Lee isn’t some kind of niche, underground film that only four of your biggest cinephile friends have seen (not that obscurity would have made its snub acceptable, but you get my point). Instead, the film boasted a fantastic ensemble (with Seyfried joined by the likes of Lewis Pullman and Thomasin McKenzie), a respected director, and a career-best performance in Seyfried – a previous Oscar nominee, no less. Mona Fastvold herself is no stranger to the Oscars. In 2024, she left her creative fingerprints all over The Brutalist, which went on to be nominated for 10 awards at the Oscars the following year – including Best Picture. (Though admittedly, Brady Corbet was the director at the helm of The Brutalist, and the Oscars don’t have the best track record with celebrating female filmmakers). Ann Lee’s complete exclusion is even more surprising given its massive achievement. With such a small budget covering such an epic scope, the cinematography, music, performances and structure all work so deliberately and so uniquely together to create a film that is truly unlike any cinematic experience I have gone through – and it’s a magnificent shame that the Academy considers it unworthy of even the smallest recognition. View Green Video on the source website Of course, the Oscars have never been particularly intelligent in recognising work that does something completely new. Instead, they are so frequently occupied by films that repeat the same patterns, aesthetics and ideas over and over again, largely ignoring those that have the ability to reshape the way we see cinema. Because Ann Lee is billed as a musical about a religious leader, and it does take its risks, it therefore falls out of that comfort zone. But every risk the film takes pays off greatly – and in a cinematic landscape that is made up predominantly of regurgitated remakes and gratuitous sequels, each risk is more than welcome. The film’s huge ambition is what makes it so incredible. Ann Lee may truly be one of the most individual films I have ever seen. On my first watch, I found myself in desperate need to rewind and watch it all over again – and on my second watch, it made me sob – and honestly, even now, I struggle to articulate exactly why. There is just something so unflinchingly raw, strange and beautiful in its craft that it just goes straight through you. And while, yes, it may be less 'accessible' than films such as Hamnet and Frankenstein, such accessibility should not be a measure of its greatness. Now, I’m not saying that Ann Lee should completely sweep the awards board. As much as I’d personally welcome that, it’s an unrealistic expectation. A historical film so deeply concerned with female spirituality, leadership and music perhaps was never going to be an easy sell in an environment that prioritises films that do not favour those things. But to ignore the film completely – this year, the Academy have genuinely left me baffled. (In other, more Ann Lee-related terms, I Hunger and Thirst for the Academy to take this film seriously). The Testament of Ann Lee will be released in UK cinemas on 20th February. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
Oscar nominations 2026: Full list of nominees as Sinners smashes record with 16 nods
One Battle After Another and Hamnet also performed well.
Ryan Coogler's Sinners has become the most nominated film in Academy Awards history after receiving a staggering 16 nods – including in almost every major category. The hugely acclaimed vampire movie – which was also a major box office hit – is one of 10 films which will compete for the best picture trophy at the ceremony in March, while Coogler is up for best director, and three of its stars (Michael B Jordan, Wunmi Mosaku and Delroy Lindo) are all in the running across the various acting categories. As expected, other films that performed well included Paul Thomas Anderson's One Battle After Another and Chloé Zhao's Hamnet – which scored 13 and eight nominations respectively. Those two films are arguably still the frontrunners to pick up the top prize, although the sheer number of nominations for Sinners suggests that it could pose a major challenge as well. Elsewhere, Marty Supreme, Sentimental Value and Frankenstein enjoyed plenty of success – gaining nine nominations each – while F1 was something of a surprise entry in the best picture category. The Academy's welcome embrace of international movies also continued, with place for both Brazilian drama The Secret Agent and the aforementioned Norwegian film Sentimental Value in best picture. However others such as It Was Just an Accident and Sirat had to settle for a place in the best international feature category. View Green Video on the source website As ever there were a couple of notable snubs – including Hamnet's Paul Mescal and One Battle After Another's Chase Infiniti – while some films were looked over entirely, including The Testament of Ann Lee and No Other Choice, both of which can consider themselves incredibly unfortunate to have no place in the conversation. These nominations were also the first to include the brand new casting category, with Hamnet, Marty Supreme, One Battle After Another, The Secret Agent and Sinners the five films to receive Oscar nods in this discipline. Read on for the full list of Oscars 2026 nominees. Oscar nominations 2026: Full list of Academy Awards nominees Best picture Bugonia F1 Frankenstein Hamnet Marty Supreme One Battle After Another The Secret Agent Sentimental Value Sinners Train Dreams Best director Chloe Zhao – Hamnet Josh Safdie – Marty Supreme Paul Thomas Anderson – One Battle After Another Joachim Trier – Sentimental Value Ryan Coogler – Sinners Best actor Timothée Chalamet – Marty Supreme Leonardo DiCaprio – One Battle After Another Ethan Hawke – Blue Moon Michael B Jordan – Sinners Wagner Moura – The Secret Agent Best actress Jessie Buckley – Hamnet Rose Byrne – If I Had Legs I'd Kick You Kate Hudson – Song Sung Blue Renate Reinsve – Sentimental Value Emma Stone – Bugonia Best supporting actor Benicio del Toro – One Battle After Another Jacob Elordi – Frankenstein Delroy Lindo – Sinners Sean Penn – One Battle After Another Stellan Skarsgaard – Sentimental Value Best supporting actress Elle Fanning – Sentimental Value Inga Ibsdotter Lilleaas – Sentimental Value Amy Madigan – Weapons Wunmi Mosaku – Sinners Teyana Taylor – One Battle After Another Best original screenplay Blue Moon It Was Just an Accident Marty Supreme Sentimental Value Sinners Best adapted screenplay Bugonia Frankenstein Hamnet One Battle After Another Train Dreams Best animated feature Arco Elio K-Pop Demon Hunters Little Amélie of the Character of Rain Zootropolis 2 Best international film The Secret Agent It Was Just an Accident Sentimental Value Sirat The Voice of Hind Rajab Best original score Bugonia Frankenstein Hamnet One Battle After Another Sinners Best original song Dear Me from Diane Warren: Relentless Golden from K-Pop Demon Hunters I Lied to You from Sinners Sweet Dreams of Joy from Viva Verdi! Train Dreams from Train Dreams Best costume design Avatar: Fire and Ash Frankenstein Hamnet Marty Supreme Sinners Best cinematography Frankenstein Marty Supreme One Battle After Another Sinners Train Dreams Best documentary feature The Alabama Solution Come See Me in the Good Light Cutting Through Rocks Mr Nobody Against Putin The Perfect Neighbour Best editing F1 Marty Supreme One Battle After Another Sentimental Value Sinners Best production design Frankenstein Hamnet Marty Supreme One Battle After Another Sinners Best makeup and hairstyling Frankenstein Kokuho Sinners The Smashing Machine The Ugly Stepsister Best sound F1 Frankenstein One Battle After Another Sinners Sirat Best visual effects Avatar: Fire and Ash F1 Jurassic World: Rebirth The Lost Bus Sinners Best casting Hamnet Marty Supreme One Battle After Another The Secret Agent Sinners Best short documentary All the Empty Rooms Armed Only with a Camera: The Life and Death of Brent Renaud Children No More: "Were and are Gone" The Devil is Busy Perfectly a Strangeness Best short film (animation) Butterfly Forevergreen The Girl Who Cried Pearls Retirement Plan The Three Sisters Best short film (live action) Butcher's Stain A Friend of Dorothy Jane Austen's Period Drama The Singers Two People Exchanging Saliva The 98th Academy Awards will take place on Sunday 15th March. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
Oscar predictions 2026: Which films could compete for Best Picture next year?
This year's awards season has wrapped up...
Awards season has finally wrapped up following Sunday night's Academy Awards ceremony in LA – with Sean Baker's Anora ultimately taking top honours on Oscars night ahead of rivals including The Brutalist, Conclave and Emilia Pérez. Although Baker has been an acclaimed name in indie circles for several years prior to this latest film, few would have predicted Anora as an Oscars frontrunner prior to its premiere at Cannes last May, and so the idea of guessing next year's Best Picture at this stage is self-evidently something of a fool's errand. That said, a little bit of speculation never did anyone any harm, and so we've rounded up a list of some of the films that might well be in contention when the time comes to hand out golden statuettes again next year. Of course, it should be taken into account that – with the exception of one or two films – most of the titles listed below have not yet been screened, and so we're relying entirely on the names attached to indicate which films might be in the running. It's widely likely that after some of these premiere they could drop off our predictions list entirely, and it's equally probable that several films will come out of nowhere to emerge as major contenders in the coming months. But for the time being, read on for a list of films that could be up for Best Picture in 2026. If nothing else, it certainly points to an exciting year for new releases... Sponsored by Vue Save up to 30% on the latest releases at Vue in 2025 Are you a movie lover who always wants to be up to date with the latest releases? Then you're in luck, as RadioTimes.com readers can enjoy new films at Vue Cinemas for less. Customers will receive up to 30% off films with Vue Pass, as long as they have a RadioTimes.com account. It's a great time for new releases, with films such as Wicked, Nosferatu, The Brutalist and Moana 2 taking UK cinemas by storm. Head to your nearest Vue to catch these movies and more for up to 30% less if you're signed up as a RadioTimes.com member. Save up to 30% with Vue Pass Wicked: For Good This one seems a fairly safe bet for now. Given the major popular acclaim the first film received – and the fact that it managed 10 Oscar nods, including one for Best Picture – we'd be very surprised not to see Jon M Chu's follow-up in the running next year. Cynthia Erivo and Ariana Grande will return to their roles of Elphaba and Glinda for the sequel, which is adapted from the second act of the hit stage show and includes some brand new musical numbers along with beloved favourites. Mickey 17 Despite receiving broadly strong reviews, Bong Joon-ho's sci-fi film starring Robert Pattinson – which opens in UK cinemas this week – already seems like something of a long shot, in part due to its somewhat bonkers nature. But given director Bong's previous film Parasite was such an Oscars sensation, famously being crowned Best Picture winner in one of the most exciting Oscars moments of recent times, we wouldn't rule it out completely yet. Could he do it again? Sorry, Baby It's been common in recent years for a film that premiered at Sundance Film Festival to make it into the Oscars conversation, with Jesse Eisenberg's A Real Pain narrowly missing out on a Best Picture nod this year despite nominations elsewhere (and a Best Supporting Actor win for Kieran Culkin). The best reviewed of this year's Sundance crop was this drama from first-time director Eva Victor – who also stars. It follows a college professor as she tries to recover from a sexual assault and has so far been widely praised. One Battle After Another The combination of Paul Thomas Anderson and Leonardo DiCaprio – in their first collaboration together – looks like it could be catnip for Oscars voters, especially when we consider that it is the popular auteur's most expensive film to date. Reportedly based on Thomas Pynchon's novel Vineland, an exact plot synopsis has not yet been provided, but we do know that the cast also includes Regina Hall, Sean Penn, Alana Haim and Benicio del Toro. Anderson is yet to make a bad movie, and has been in the running for Oscars glory several times before – could this be the one to win him gold? Avatar: Fire and Ash Both previous Avatar films have received Best Picture nominations in addition to their well-publicised commercial success, and so the third seems a good bet to follow suit at this stage. Not much has been given away as to exact plot details, but David Thewlis and Oona Chaplin are joining the existing cast, which already includes Sam Worthington, Zoe Saldaña and Kate Winslet, and we can be fairly certain James Cameron will have plenty more spectacle in store for us. Die, My Love Scottish director Lynne Ramsay has only made four films in her 25-year career – Ratcatcher, Morvern Callar, We Need to Talk About Kevin and You Were Never Really Here – but each of them has been hugely acclaimed. Her status as more of an arthouse auteur has seen her overlooked when it comes to Oscars in the past, but the combination of a big-name cast (including Jennifer Lawrence and Robert Pattinson) and the fact that the Academy has begun to embrace more left-field options in recent years means it could be a decent bet. Adapted by a novel of the same name by Ariana Harwicz, the synopsis reads: "In a farmhouse on the Montana countryside, a woman has mental health issues as her marriage breaks up." Materialists Celine Song made one of the most acclaimed directorial debuts of recent times with her Oscar-nominated romantic drama Past Lives – so it will be interesting to see if she can go two for two with her second feature, Materialists. The film stars Dakota Johnson, Chris Evans and Pedro Pascal, and is reportedly a more traditional romantic comedy than her earlier effort, following a matchmaking expert who falls into a toxic love triangle. Bugonia The creative partnership between writer and director Yorgos Lanthimos and actor Emma Stone has already garnered several Oscar nominations, including a Best Actress win for Stone for 2023's Poor Things. Their fourth collaboration is a remake of a 2003 South Korean sci-fi comedy titled Save the Green Planet!, and follows two conspiracy-obsessed men who kidnap the CEO of a major company when they become convinced that she's an alien who wants to destroy Earth. The Ballad of a Small Player After two Best Picture nominations in a row for All Quiet on the Western Front and Conclave (both of which also won Best Film at the BAFTAs), anything Edward Berger makes should be considered a possible contender. His next effort is a psychological thriller about a gambler and a con artist who flee Britain for Macau, with Tilda Swinton and Colin Farrell in the starring roles. Caught Stealing Darren Aronofsky can be something of a divisive filmmaker, but he has seen two of his films nominated for Best Picture in the past – Black Swan and The Fighter – and so we wouldn't bet against his latest movie being in the race next year. Starrung Austin Butler, Zöe Kravitz and Matt Smith, the crime thriller follows a former baseball player who finds himself immersed in criminality in New York in the 1990s. After the Hunt Luca Guadagnino's two 2024 releases – Challengers and Queer – received plenty of acclaim but ultimately fell short when it came to the awards conversation, but the prolific Italian director is already back with another film that could be one to look out for. After the Hunt stars Julia Roberts, Ayo Edebiri and Andrew Garfield, and follows a college professor grappling with her secretive past when one of her colleagues is faced with a serious accusation. Eleanor the Great Scarlett Johansson has already been nominated for a couple of acting Oscars, and this year she's making her directorial debut with this drama starring veteran actress June Squibb as a 90-year-old Floridian woman who strikes up an unlikely friendship with a 19-year-old student in New York City. Not too much more has been revealed at this stage, but the early buzz is good, so it's definitely one to keep an eye on. Alpha Not so long ago, the idea of a film from a French director known for her works of extreme body horror being an Oscars contender would have seemed like a pipe dream – but the success of The Substance has changed everything. Not too much has been revealed about Alpha, but the synopsis for this third film from Raw and Titane director Julia Ducournau reads: "As the AIDS epidemic unfolds in 1980s New York City, one of 11-year-old Alpha's parents falls ill, forcing her to confront loss and her own mortality for the first time." The Smashing Machine The Safdie brothers are no longer working together, but both have new films expected this year, and each of them could well finds themselves vying for awards success. This sports drama comes from younger brother Benny Safdie and sees Dwayne Johnson star as former wrestler and MMA fighter Mark Kerr. Johnson has talked about a movie away from blockbuster hits to make more artistically minded films; could he emerge as a surprise acting nominee? Marty Supreme Meanwhile, Josh Safdie is teaming up with Timothée Chalamet for this film – also a sports drama – which is reportedly loosely based on the life of champion table tennis player Marty Reisman. Chalamet has already been in an incredible seven Best Picture nominated films at the age of 29, so any film he's in stands a decent chance of making the cut – can he make it eight? Jay Kelly After his rather misfiring adaptation of Don DeLillo's White Noise, Marriage Story writer/director Noah Baumbach will be hoping to return to the Oscars stage with this drama starring George Clooney, Adam Sandler and Laura Dern. Plot details are being kept under wraps for now, but we're expecting it to debut on Netflix sometime this autumn. A Big Bold Beautiful Journey There are high hopes for this new film from Columbus and After Yang director Kogonada, not least because of the impressive cast led up by Margot Robbie and Colin Farrell. We don't know much about the plot so far, other than the fact it's being billed as a romantic fantasy, but it's another one that's worth keeping an eye on as the director looks to add some Oscars nominations to the acclaim he's already received for his first two features. Frankenstein Any time Guillermo del Toro – whose The Shape of Water won Best Picture in 2018 – makes a new film, it's bound to at least be in the conversation around awards, and his passion project is definitely likely to have a decent shot. Oscar Isaac, Jacob Elordi and Mia Goth are leading the cast for his reimagining of the Mary Shelley's iconic gothic horror story. The Bride Speaking of Frankenstein, Maggie Gyllenhaal is writing and directing this new film inspired by the 1935 classic The Bride of Frankenstein, with Jessie Buckley starring in the title role and Christian Bale playing Frankenstein's Monster. The Oscars have clearly shown that they are more open to horror stories now than ever, and coupled with the film's big-name cast and its connection to classic Hollywood history, this is another that's worth looking out for. Mission: Impossible – The Final Reckoning It couldn't, could it? This is something of a wild card, as no previous Mission: Impossible film has been up for Best Picture, or even really been in the running. But the fact this is being tipped as Tom Cruise's last outing as Ethan Hunt – not to mention an Oscar nomination for Top Gun: Maverick a couple of years ago – means that there's every chance the Academy could put aside its reservations about action cinema on this occasion. Highest 2 Lowest Spike Lee is another director who's always worth keeping an eye on, especially when he's collaborating with Denzel Washington – and so this new film from the Do the Right Thing and BlacKkKlansman filmmaker is definitely one to watch. A "reinterpretation" of Akira Kurosawa 1963 film High and Low – which follows events before and after a kidnapping – the cast also includes Jeffrey Wright and Dean Winters. The Phoenician Scheme Although his short The Wonderful Story of Henry Sugar was successful last year, it's been a while since a Wes Anderson feature really made a noise in the awards race – so perhaps this latest effort from the eccentric auteur could be the one to return him to the conversation. The typically stacked ensemble cast includes Benicio del Toro, Michael Cera, Tom Hanks, Bryan Cranston, Riz Ahmed, and Scarlett Johansson, and the film will apparently see him tackle the espionage genre. Hamnet Another previous Oscar winner with a new film out is Nomadland's Chloé Zhao who will be hoping to return to form with this adaptation of Maggie O'Farrell's acclaimed novel following her misfire with Eternals. The film stars Paul Mescal and Jessie Buckley and tells a fictional story about the life of William Shakespeare and his wife Agnes Shakespeare, following the death of their 11-year-old son, Hamnet. If you're looking for something to watch tonight, check out our TV Guide and Streaming Guide or visit our Film hub for all the latest news. For more from the biggest stars in TV, listen to The Radio Times Podcast.
Oscar winners 2025: Full list as Anora wins Best Picture
Other big winners on the night included Adrien Brody for Best Actor and Mikey Madison for Best Actress.
Anora was crowned the latest winner of the Best Picture trophy at last night's 97th Academy Awards in Hollywood – with the film seeing off competition from the likes of Conclave and The Brutalist to follow Oppenheimer in winning the coveted prize. Meanwhile, the film's writer and director Sean Baker also equalled a longstanding record set by Walt Disney by winning a total of four Oscars in one night, receiving the gongs for Best Director, Best Original Screenplay and Best Editing in what was a hugely successful night for the indie filmmaker. Perhaps the most hotly contested of the major acting categories going into the ceremony was Best Actress, with The Substance star Demi Moore and Anora's Mikey Madison battling it out for the prize – but in the end it was Madison who was crowned winner, bringing Anora's total to five awards. And although Timothée Chalamet's win at last week's SAG Awards had seen the Best Actor race thrown wide open again, in the end The Brutalist star Adrien Brody was crowned winner, while Kieran Culkin and Zoe Saldaña both completed their hugely successful awards campaigns in Best Supporting Actor and Best Supporting Actress respectively. Elsewhere, there were also wins for the likes of Flow for Best Animated Feature, I'm Still Here for Best International Film, and No Other Land for Best Documentary Feature. Read below for the full list of nominees and winners. Sponsored by Vue Save up to 30% on the latest releases at Vue in 2025 Are you a movie lover who always wants to be up to date with the latest releases? Then you're in luck, as RadioTimes.com readers can enjoy new films at Vue Cinemas for less. Customers will receive up to 30% off films with Vue Pass, as long as they have a RadioTimes.com account. It's a great time for new releases, with films such as Wicked, Nosferatu, The Brutalist and Moana 2 taking UK cinemas by storm. Head to your nearest Vue to catch these movies and more for up to 30% less if you're signed up as a RadioTimes.com member. Save up to 30% with Vue Pass Oscar nominations 2025: Full list of Academy Awards winners Best Picture Anora – WINNER The Brutalist A Complete Unknown Conclave Dune: Part Two Emilia Pérez I'm Still Here Nickel Boys The Substance Wicked Best Director Jacques Audiard – Emilia Pérez Sean Baker – Anora – WINNER Brady Corbet – The Brutalist Coralie Fargeat – The Substance James Mangold – A Complete Unknown Best Actor Adrien Brody – The Brutalist – WINNER Timothée Chalamet – A Complete Unknown Colman Domingo – Sing Sing Ralph Fiennes – Conclave Sebastian Stan – The Apprentice Best Actress Cynthia Erivo – Wicked Karla Sofía Gascón – Emilia Pérez Mikey Madison – Anora – WINNER Demi Moore – The Substance Fernanda Torres – I'm Still Here Best Supporting Actor Yura Borisov – Anora Kieran Culkin – A Real Pain – WINNER Edward Norton – A Complete Unknown Guy Pearce – The Brutalist Jeremy Strong – The Apprentice Best Supporting Actress Monica Barbaro – A Complete Unknown Ariana Grande – Wicked Felicity Jones – The Brutalist Isabella Rossellini – Conclave Zoe Saldaña – Emilia Pérez – WINNER Best Original Screenplay Anora – WINNER The Brutalist A Real Pain September 5 The Substance Best Adapted Screenplay A Complete Unknown Conclave – WINNER Emilia Pérez Nickel Boys Sing Sing Best Animated Feature Flow – WINNER Inside Out 2 Memoir of a Snail Wallace and Gromit: Vengeance Most Fowl The Wild Robot Best International Film Emilia Pérez Flow I'm Still Here – WINNER The Girl with the Needle The Seed of the Sacred Fig Best Original Score The Brutalist – WINNER Conclave Emilia Pérez Wicked The Wild Robot Best Original Song El Mal from Emilia Pérez – WINNER Like A Bird from Sing Sing The Journey from The Six Triple Eight Mi Camino from Emilia Pérez Never Too Late from Elton John: Never Too Late Best Costume Design A Complete Unknown Conclave Gladiator II Nosferatu Wicked – WINNER Best Cinematography The Brutalist – WINNER Dune: Part Two Emilia Pérez Maria Nosferatu Best Documentary Feature Black Box Diaries No Other Land – WINNER Porcelain War Soundtrack to a Coup d’Etat Sugarcane Best Editing Anora – WINNER The Brutalist Conclave Emilia Pérez Wicked Best Production Design The Brutalist Conclave Dune: Part Two Nosferatu Wicked – WINNER Best Makeup and Hairstyling A Different Man Emilia Pérez Nosferatu The Substance – WINNER Wicked Best Sound A Complete Unknown Dune: Part Two – WINNER Emilia Pérez Wicked The Wild Robot Best Visual Effects Alien: Romulus Better Man Dune: Part Two – WINNER Kingdom of the Planet of the Apes Wicked Best Short Documentary Death by Numbers I Am Ready, Warden Incident Instruments of a Beating Heart The Only Girl in the Orchestra – WINNER Best Short Film (Animation) Beautiful Men In The Shadow of the Cypress – WINNER Magic Candies Wander to Wonder Yuck! Best Short Film (Live Action) A Lien Anuja I’m Not a Robot – WINNER The Last Ranger The Man Who Could Not Remain Silent The Academy Awards took place on Sunday 2nd March. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more from the biggest stars in TV, listen to The Radio Times Podcast.
Which film has won the most Oscars ever? Academy Award winner records
Find out who's had the most nominations and wins for acting, directing, screenwriting and more.
Often discussed as one of the greatest achievements a film professional can aspire to, the Academy Awards never fail to make major headlines and hold the power to transform careers virtually overnight. While most actors, screenwriters, directors and other craftspeople will be lucky to win only one from many years of work, there are those exceptional few who can boast multiple trophies – and even more nominations. As the glitzy ceremony rolls around once again, we're taking a look at some of the biggest Oscar records, from the most-decorated film of all time to the actors who have won more than anybody else. There's even a chance, albeit slight, that we could see more records broken tonight, with Emilia Pérez managing to rack up a whopping 13 nominations in total, several of which it could convert to wins. Other films considered frontrunners with their multiple nods include The Brutalist and Wicked with 10 a piece, and Conclave and A Complete Unknown, which each have eight shots at striking gold. If you're interested to find out more about the impressive Oscar records spanning the history of the nearly 100-year-old event, read on to find out about the films and people with the most Academy Awards. Which film has won the most Oscars of all time? Three films hold the record of winning the most Academy Awards, having garnered 11 Oscars each: Ben-Hur (1959), Titanic (1997) and The Lord of the Rings: The Return of the King (2003). Out of these, Titanic received the most nods with a total of 14 nominations. <a id="menur4co" class="fui-Link ___1q1shib f2hkw1w f3rmtva f1ewtqcl fyind8e f1k6fduh f1w7gpdv fk6fouc fjoy568 figsok6 f1s184ao f1mk8lai fnbmjn9 f1o700av f13mvf36 f1cmlufx f9n3di6 f1ids18y f1tx3yz7 f1deo86v f1eh06m1 f1iescvh fhgqx19 f1olyrje f1p93eir f1nev41a f1h8hb77 f1lqvz6u f10aw75t fsle3fq f17ae5zn" title="https://www.radiotimes.com/download-the-app/" href="https://www.radiotimes.com/download-the-app/" target="_blank" rel="noreferrer noopener" aria-label="Link Download the Radio Times app">Download the Radio Times app for more Oscars 2025 coverage – including interviews with the stars and exclusive features. View Green Video on the source website There's an extremely remote – in fact, all but impossible – chance of the record being equalled or bettered this time around, given the Emilia Pérez is up for 13 awards. But even before the film became embroiled in various controversies, it seemed highly unlikely that it would manage to win in all but two of the categories in which it's nominated, and so it looks very much like the record is safe for another year. Who has won the most Oscars of all time? The person who has triumphed more times at the Oscars than anyone else in history is Walt Disney. America’s most iconic filmmaker racked up a whopping 26 Oscars, four of which were honorary awards, and he also holds the record for the most nominations on record – 59. Who has won the most Oscars for acting? Actress Katharine Hepburn holds the record for the most Oscars for acting, having won four Academy Awards across her career and earned a total of 12 nominations. Hepburn won Oscars in the best actress category for her performances in the films Morning Glory (1933), Guess Who’s Coming to Dinner (1967), The Lion in Winter (1968) and On Golden Pond (1981). Actors Jack Nicholson, Daniel Day-Lewis and Walter Brennan, meanwhile, are the three men with the most Oscars for acting, having each won three times. While some of Brennan and Nicholson’s awards were for best supporting actor, all three of Day-Lewis’s victories were for best leading actor, and he holds the record in that category. Who is the most nominated actor at the Oscars? The person with the most nominations for acting is Meryl Streep, who has received 21 nods over the course of her career. She has won three times for Kramer vs. Kramer (1979), Sophie’s Choice (1982) and The Iron Lady (2011). Streep has also been nominated for The Deer Hunter, The French Lieutenant's Woman, Silkwood, Out of Africa, Ironweed, A Cry in the Dark, Postcards from the Edge, The Bridges of Madison County, One True Thing, Music of the Heart, Adaptation, The Devil Wears Prada, Doubt, Julie & Julia, August: Osage County, Into the Woods, Florence Foster Jenkins, and The Post. Who has won the most Oscars for directing? John Ford won none of his four Oscars for his famous Westerns. Instead, he holds the Best Director record for The Informer (1935), The Grapes of Wrath (1940), How Green Was My Valley (1941) and The Quiet Man (1952). Although Ford has won the most Oscars of any director, William Wyler holds the record for the most nominations in this discipline earning 12, three of which won him some silverware. Ford was nominated for five overall, boasting an enviable conversion rate. Which British person has won the most Oscars? Film composer John Barry has won more Oscars than any other Brit. He has garnered five Academy Awards in total, two for Born Free (1966), and one each for Lion in Winter (1968), Out of Africa (1985) and Dances with Wolves (1990). Who has won the most Oscars for screenwriting? Five people have been awarded three screenwriting Oscars: Billy Wilder, Charles Brackett, Francis Ford Coppola, Woody Allen, and Paddy Chayefsky. But it is Allen who has won the most Academy Awards in the Best Original Screenplay category, for his films Annie Hall (1977), Hannah and Her Sisters (1986), and Midnight in Paris (2011). Which British actor has won the most Oscars? That would be Daniel Day Lewis with his three wins for My Left Foot, There Will Be Blood and Lincoln. The actor was also nominated for Oscars for his turns in In the Name of the Father, Gangs of New York and Phantom Thread. Sponsored by Vue Save up to 30% on the latest releases at Vue in 2025 Are you a movie lover who always wants to be up to date with the latest releases? Then you're in luck, as RadioTimes.com readers can enjoy new films at Vue Cinemas for less. Customers will receive up to 30% off films with Vue Pass, as long as they have a RadioTimes.com account. It's a great time for new releases, with films such as Wicked, Nosferatu, The Brutalist and Moana 2 taking UK cinemas by storm. Head to your nearest Vue to catch these movies and more for up to 30% less if you're signed up as a RadioTimes.com member. Save up to 30% with Vue Pass The Academy Awards will take place on Sunday 2nd March. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more from the biggest stars in TV, listen to The Radio Times Podcast.
Oscars 2025 presenters: Which stars are presenting awards at the ceremony?
As ever, an impressive line-up of Hollywood royalty and former winners will be taking to the stage at the Dolby Theatre alongside host Conan O'Brien.
After months of debate, campaigning and controversy, the 97th Academy Awards are finally here to announce what Hollywood believes to be the greatest films and performances of the past year. In a shake-up to recent editions, Jimmy Kimmel has exited the long-running ceremony, with former late night host and The Simpsons golden age legend Conan O'Brien stepping up to fill the risky role of Oscar host. The glamorous event has been prone to unexpected moments in recent years, from the Will Smith slap to the mistaken announcement of La La Land as Best Picture, meaning O'Brien needs to be ready for near enough anything. Luckily, he'll have plenty of back-up from some of Hollywood's most prominent names, with recent winners Cillian Murphy, Robert Downey Jr, Emma Stone and Da'Vine Joy Randolph among the line-up enlisted to present the individual categories. Alas, a previously confirmed name has had to drop out at the last moment, with Variety reporting that Captain America: Brave New World star Harrison Ford will no longer be appearing at the Oscars after developing shingles. He is recovering at home. Read on for the full list of Oscars 2025 presenters, ahead of the starry broadcast tonight (also, check out our full guide on how to watch the Oscars in the UK if you're hoping to tune in). Oscars presenters 2025 – full list The full list of Oscars 2025 presenters are listed in alphabetical order below: Joe Alwyn Dave Bautista Halle Berry Sterling K Brown Penélope Cruz Willem Dafoe Ana de Armas Lily-Rose Depp Robert Downey Jr Elle Fanning Gal Gadot Andrew Garfield Whoopi Goldberg Selena Gomez Goldie Hawn Samuel L Jackson Scarlett Johansson John Lithgow Cillian Murphy Connie Nielsen Amy Poehler Margaret Qualley Da'Vine Joy Randolph Alba Rohrwacher Zoe Saldaña June Squibb Ben Stiller Emma Stone Oprah Winfrey Bowen Yang Rachel Zegler Who is hosting the Oscars 2025? The man in charge of presiding over the ceremony is comedian and legendary talk show host Conan O'Brien – who was announced as the host back in November 2024. It will be O'Brien's first time as host, and he replaces his fellow talk show host Jimmy Kimmel, who had fronted the previous two Oscars nights but reportedly turned down the chance to return for his third consecutive year (and his fifth time in total). <a id="menur6fm" class="fui-Link ___1q1shib f2hkw1w f3rmtva f1ewtqcl fyind8e f1k6fduh f1w7gpdv fk6fouc fjoy568 figsok6 f1s184ao f1mk8lai fnbmjn9 f1o700av f13mvf36 f1cmlufx f9n3di6 f1ids18y f1tx3yz7 f1deo86v f1eh06m1 f1iescvh fhgqx19 f1olyrje f1p93eir f1nev41a f1h8hb77 f1lqvz6u f10aw75t fsle3fq f17ae5zn" title="https://www.radiotimes.com/download-the-app/" href="https://www.radiotimes.com/download-the-app/" target="_blank" rel="noreferrer noopener" aria-label="Link Download the Radio Times app">Download the Radio Times app for more Oscars 2025 coverage – including interviews with the stars and exclusive features. Speaking to ABC News ahead of the ceremony, O'Brien revealed that he hoped to strike the right tone between humour and respect – as well as honouring those affected by the LA fires earlier in the year. View Green Video on the source website "The Oscars is a show that is very much a hometown show. It's a Los Angeles show, so what's happened here needs to be addressed," he said. "It's a celebration of hard work that's been done by many people." He added: "There's a needle to thread, there's a line to walk, and I'm determined to do that correctly. But I want to make sure there's humour, that we have some fun, and that we have some joy." Sponsored by Vue Save up to 30% on the latest releases at Vue in 2025 Are you a movie lover who always wants to be up to date with the latest releases? Then you're in luck, as RadioTimes.com readers can enjoy new films at Vue Cinemas for less. Customers will receive up to 30% off films with Vue Pass, as long as they have a RadioTimes.com account. It's a great time for new releases, with films such as Wicked, Nosferatu, The Brutalist and Moana 2 taking UK cinemas by storm. Head to your nearest Vue to catch these movies and more for up to 30% less if you're signed up as a RadioTimes.com member. Save up to 30% with Vue Pass The Academy Awards will take place on Sunday 2nd March. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more from the biggest stars in TV, listen to The Radio Times Podcast.
It's almost time to crown a new Best Picture winner.
The biggest night in showbiz has finally arrived, with the Academy Awards now mere hours away as Hollywood veterans and rising stars alike converge on Los Angeles for the glamorous ceremony. It's been a truly rollercoaster awards season with lots of surprises along the way, from the heated discourse surrounding Emilia Pérez to the AI debate triggered by The Brutalist, and the usual snubs for titles once considered top contenders. As it stands, the Best Picture race and lead actor categories remain open to speculation, with The Brutalist, Anora and Conclave deemed frontrunners, while fans are split on whether Mikey Madison or The Substance's Demi Moore will walk home with the gold. The lead actor category was thought to be going in Adrien Brody's direction, until a last minute win for Timothée Chalamet (A Complete Unknown) at the SAG Awards opened the possibility of an upset. In addition to the usual mix of gags, gaffes and hit-and-miss speeches, the Oscars will also be paying tribute to brave emergency response workers who fought the recent Los Angeles wildfires, which caused enormous damage and claimed several lives. Deadline reports that the ceremony will "honour Los Angeles as the city of dreams" and "reflect on the recent events while highlighting the strength, creativity and optimism that defines Los Angeles and our industry". If you're excited to see what the night has in store, read on for everything you need to know about how to watch the Oscars 2025 in the UK. You can also remind yourself of the 2025 Oscars nominations ahead of the main event. When are the Oscars 2025? Date and time The Oscars are scheduled to take place on Sunday 2nd March 2025 at their usual home in Hollywood's Dolby Theatre, where they have been held since 2001 (with the exception of 2021, when the ceremony was significantly downsized due to the pandemic). The three-hour ceremony will begin at 4pm PST. The delayed nominations announcement will now take place on Thursday 23rd January, with the week-long final voting period for Academy members lasting from Tuesday 11th February to 18th February. Download the Radio Times app for more Oscars 2025 coverage – including interviews with the stars and exclusive features. How can I watch the Oscars 2025 in the UK? For the second year in a row, the ceremony will be shown in full by ITV – so it couldn't be easier for UK fans to watch it (if you can get past the late night, that is). There will be free-to-air coverage across both ITV1 and ITVX – including red carpet footage and analysis from a host of celebrity guests and film experts, while Jonathan Ross is returning to front the programme. For UK viewers, the three-hour event is set to begin at midnight, meaning film fans on this side of the Atlantic will therefore have to prepare for a very late night if they plan to watch the ceremony live. Who is hosting the Oscars 2025? It was revealed back in November 2024 that the ceremony would this year be presided over by comedian and legendary talk show host Conan O'Brien – his first time as presenter. Announcing the news, Academy CEO Bill Kramer and Academy president Janet Yang said they were "thrilled and honoured" that the "incomparable" O'Brien would be taking on the gig. They added: "He is the perfect person to help lead our global celebration of film with his brilliant humour, his love of movies, and his live TV expertise. "His remarkable ability to connect with audiences will bring viewers together to do what the Oscars do best – honour the spectacular films and filmmakers of this year." O'Brien takes over from Jimmy Kimmel, who has hosted the last two ceremonies but reportedly turned down the chance to return for his third consecutive year (and his fifth time in total.) Meanwhile, according to Variety, popular comedian John Mulaney – who struck a chord with viewers during a hilarious skit at last year's event – also passed on the chance to host. As ever, the ceremony will see a bunch of A-listers, including numerous previous winners, presenting awards over the course of the night – although at this stage it remains to be seen exactly which big names will be called upon this time. Which musical acts will perform at the Oscars 2025? Musical acts confirmed to be performing at the Oscars 2025 include Wicked stars Ariana Grande and Cynthia Erivo, Blackpink's Lisa, Doja Cat and RAYE, plus Queen Latifah in a tribute to the late Quincy Jones. In January, the Academy announced the surprise news that they'd be breaking from tradition when it came to the ceremony's musical performances: unlike previous years, there would not be a live version of each of the numbers nominated in the Best Original Song category. According to Variety, the ceremony will instead "spotlight the songwriters through personal reflections and behind-the-scenes insights from the creative teams behind the music". It has also been reported that music from the James Bond films will be honoured during the ceremony, with numerous themes earning Oscar nods over the franchise's long history (via Variety). The segment will also pay tribute to veteran producers Michael G Wilson and Barbara Broccoli, who were recently confirmed to be parting ways with the property as Amazon MGM Studios takes control. Who is presenting awards at the Oscars 2025? Oscars host Conan O'Brien will have plenty of star-studded back-up at the event, with Oprah Winfrey, Andrew Garfield, Samuel L Jackson, Robert Downey Jr, Whoopi Goldberg, Scarlett Johansson, Cillian Murphy and Emma Stone among the most famous faces. Other award presenters include Emilia Pérez stars Selena Gomez and Zoe Saldaña, Snow White's Rachel Zegler and Gal Gadot, plus The Substance co-star Margaret Qualley, Nosferatu's Willem Dafoe and Lily-Rose Depp, and Conclave's John Lithgow. Dave Bautista, Alba Rohrwacher, Joe Alwyn, Halle Berry, Sterling K Brown, Penélope Cruz, Ana de Armas, Elle Fanning, Goldie Hawn, Connie Nielsen, Amy Poehler, Da’Vine Joy Randolph, June Squibb, Ben Stiller and Bowen Yang round out the line-up. Captain America: Brave New World star Harrison Ford was previously expected to present at the ceremony, but has been forced to pull out of the gig after developing shingles (as reported by Variety). The Academy Awards are scheduled for Sunday 2nd March 2025. Sponsored by Vue Save up to 30% on the latest releases at Vue in 2025 Are you a movie lover who always wants to be up to date with the latest releases? Then you're in luck, as RadioTimes.com readers can enjoy new films at Vue for less. Customers will receive up to 30% off films with Vue Pass, as long as they have a RadioTimes.com account. It's a great time for new releases, with films such as Wicked, Nosferatu, The Brutalist and Moana 2 taking UK cinemas by storm. Head to your nearest Vue to catch these movies and more for up to 30% less if you're signed up as a RadioTimes.com member. Save up to 30% with Vue Pass Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more from the biggest stars in TV, listen to The Radio Times Podcast.
Oscars 2025: The case for Emilia Pérez to win Best Picture
The crime drama and musical from Frenchman Jacques Audiard has been marred by controversy, but remains a fearless adrenaline shot.
A joyous and daring musical, Jacques Audiard’s Emilia Pérez started its public journey in Cannes last May, where critics were overwhelmingly positive and the film saw the four female leads – Karla Sofía Gascón, Zoe Saldaña, Selena Gomez and Adriana Paz – take a share of the Best Actress prize. Since then, until recently at least, this Mexican-set tale of a cartel boss named Manitas who undergoes gender reassignment has been a hot favourite in the awards season. Bought by Netflix, the film won four Golden Globes, including Best Picture in the musical or comedy category. Better still, it gained 13 Oscar nominations, the most ever by a non-English language film. But then came the backlash, from Mexican commentators complaining the film is an inauthentic representation of their country to LGBTQ+ advocates claiming it’s not a good representation of the trans community. View oEmbed on the source website Worse was to come as old social media posts by Gascón – the first ever trans performer to be nominated for a Best Actress Oscar – were unearthed. To put it mildly, Gascón’s opinions were deeply problematic, ranging from offensive comments about Islam to police brutality victim George Floyd. Although she later apologised, such comments threw Emilia Pérez’s campaign into chaos, as Audiard and others backed away from Gascón. What harm Gascón’s spectacular self-sabotage has fully done to her and Emilia Pérez’s chances at the Oscars will only become clearer after the ceremony has unfolded. At the recent BAFTAs, the film took the prize for Best Foreign Film while Best Supporting Actress was won by Saldaña, whose terrific work as the campaign lawyer Rita deserves to be recognised. But without doubt, Emilia Pérez also deserves to win Best Picture at this year’s Academy Awards. <img src="https://images.immediate.co.uk/production/volatile/sites/3/2025/02/Emilia-Perez-Karla-Sofia-Gascon-Zoe-Saldana-2dcbfec.jpg" width="7200" height="4800" alt="Karla Sofía Gascón as Emilia Pérez looking at the camera with a soft smile, and Zoe Saldaña as Rita Moro Castro out of focus in the background." title="Karla Sofía Gascón as Emilia Pérez and Zoe Saldaña as Rita Moro Castro in Emilia Pérez" /> When I first saw the film in Cannes last year, long before controversies swirled, it was at an 8:30am screening halfway through the festival (usually when journalists are truly flagging). But it felt like an adrenaline shot; here was a film that felt fresh and unusual, especially coming from Audiard. The French director has engaged with the crime genre before, with more traditional films like prison drama A Prophet (2009) and The Beat My Heart Skipped, his 2005 remake of James Toback’s Fingers (1978). But this was different. <a id="menur1gc" class="fui-Link ___1q1shib f2hkw1w f3rmtva f1ewtqcl fyind8e f1k6fduh f1w7gpdv fk6fouc fjoy568 figsok6 f1s184ao f1mk8lai fnbmjn9 f1o700av f13mvf36 f1cmlufx f9n3di6 f1ids18y f1tx3yz7 f1deo86v f1eh06m1 f1iescvh fhgqx19 f1olyrje f1p93eir f1nev41a f1h8hb77 f1lqvz6u f10aw75t fsle3fq f17ae5zn" title="https://www.radiotimes.com/download-the-app/" href="https://www.radiotimes.com/download-the-app/" target="_blank" rel="noreferrer noopener" aria-label="Link Download the Radio Times app">Download the Radio Times app for more Oscars 2025 coverage – including interviews with the stars and exclusive features. Here was a genre-bending film that felt unclassifiable; a cartel story, a transgender tale, a full-blown musical, and a social-political drama all rolled into one. That takes some serious chutzpah on the part of Audiard and his co-writers. Art should be about taking risks and, more than the other nominees this year, Emilia Pérez is a high-wire act that should be applauded for its bravery, shining a spotlight on everything from trans issues to the troubling violence at the heart of Mexican society. View Green Video on the source website The performances are as vivid as Damien Jalet’s choreography and the memorable songs by Clément Ducol and Camille. Whatever the controversy around her, it shouldn’t be forgotten that Gascón pulls off the near-impossible, playing both Manitas and the woman he transitions to, Emilia Pérez. Likewise, Saldaña’s spiky, energetic turn has spotlighted an actress who has too often been a cog in CGI spectacles like Avatar and Guardians of the Galaxy. If Emilia Pérez were to claim Best Picture, it would offer further proof to Hollywood that subtitled films can draw in audiences. Moreover, it shows that transgender stories are there to be told (and that trans actors deserve more leading roles). Above all, it’s a film that pushes the form. Taking the song-and-dance genre in a new direction, the movie musical will never be the same again. Sponsored by Vue Save up to 30% on the latest releases at Vue in 2025 Are you a movie lover who always wants to be up to date with the latest releases? Then you're in luck, as RadioTimes.com readers can enjoy new films at Vue Cinemas for less. Customers will receive up to 30% off films with Vue Pass, as long as they have a RadioTimes.com account. It's a great time for new releases, with films such as Wicked, Nosferatu, The Brutalist and Moana 2 taking UK cinemas by storm. Head to your nearest Vue to catch these movies and more for up to 30% less if you're signed up as a RadioTimes.com member. Save up to 30% with Vue Pass The Academy Awards will take place on Sunday 2nd March. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more from the biggest stars in TV, listen to The Radio Times Podcast.
Oscars 2025: The case for A Complete Unknown to win Best Picture
James Mangold's Bob Dylan biopic should be propelled to Oscars glory thanks to a charismatic Timothée Chalamet.
A much-travelled route to Oscars glory is to play a well-known figure from the music world, the familiarity of the subject enabling audiences (and, more importantly, Academy voters) to get a handle on just how good a performance is. Since 2000, five lead acting awards have gone to portrayals of real-life musicians: Jamie Foxx as Ray Charles (in Ray), Reese Witherspoon as June Carter Cash (Walk The Line), Marion Cotillard as Edith Piaf (La Vie en Rose), Rami Malek as Freddie Mercury (Bohemian Rhapsody) and Rene Zellweger as Judy Garland (Judy). View oEmbed on the source website However, none of the above films went the extra mile and took home the glittering prize of Best Picture; so, while Timothée Chalamet’s spellbinding turn as Bob Dylan has the requisite buzz of a winner, is history against A Complete Unknown itself going all the way? Its failure to snag any gongs from three nominations at the Golden Globes and six at the BAFTAs would suggest the film is an outsider, but the Oscars have an intermittent tendency to throw curveballs, and outside events may conspire to put it among the frontrunners. A release date of late December 2024 makes it the "newest" of the nominees and feasibly fresher in voters’ memories, while headline-grabbing news in early ‘25 could yet be a factor; Liberal Hollywood has its concerns about President Trump’s agenda for the next four years, and the devastating wildfires in Los Angeles have hit the community hard. In times of trouble there is a temptation for audiences to seek out uplifting fare, so the feel-good elements of A Complete Unknown and its soundtrack of iconic songs certainly fit the bill. Director James Mangold’s decision to focus on a specific, relatively short period of time in the singer-songwriter’s career results in a more forensic canvas with greater attention to detail. The nomination for Best Costume Design is key, a vital component in the evocative recreation of an era viewers of a certain age still hold dear; in addition to the clothes, the depictions of a bustling New York and its smoky clubs contribute to a tangible sense of times that are a-changin’. <a id="menur1gc" class="fui-Link ___1q1shib f2hkw1w f3rmtva f1ewtqcl fyind8e f1k6fduh f1w7gpdv fk6fouc fjoy568 figsok6 f1s184ao f1mk8lai fnbmjn9 f1o700av f13mvf36 f1cmlufx f9n3di6 f1ids18y f1tx3yz7 f1deo86v f1eh06m1 f1iescvh fhgqx19 f1olyrje f1p93eir f1nev41a f1h8hb77 f1lqvz6u f10aw75t fsle3fq f17ae5zn" title="https://www.radiotimes.com/download-the-app/" href="https://www.radiotimes.com/download-the-app/" target="_blank" rel="noreferrer noopener" aria-label="Link Download the Radio Times app">Download the Radio Times app for more Oscars 2025 coverage – including interviews with the stars and exclusive features. Not that the movie is merely trading on nostalgia, as Dylan’s determination to follow his own path in the face of a disapproving folk hierarchy has parallels with battles subsequent generations of musicians have fought. You don’t have to be a baby boomer to feel A Complete Unknown "speaks" to you, its wider themes arguably making it the nominee with which audiences can identify most directly, echoing the seismic shifts that continue to affect modern music industry business models. Significantly, the film survived a potentially damaging pre-release controversy over Mangold playing fast and loose with the facts (altering time lines and, in one instance, the name of a leading character); he did so with Dylan’s tacit approval, in a manner that fuelled mythologies the artist has often had fun with himself. View Green Video on the source website Those particular reservations seemed to be laid to rest once the movie made its way into the world, thanks in no small part to Chalamet delivering a performance as charismatic as any footage of the real Dylan from over the last 60 or so years. The actor gave his own Oscar chances a sizeable boost with a guest spot on America’s long-running Saturday Night Live in January, an enigmatic and talked-about appearance which could yet prove to be the momentum that helps catapults the film to the top prize. All will be revealed at the Dolby Theatre, where it’s not entirely beyond the realms of possibility for A Complete Unknown to (as Dylan himself might put it) come knock, knock, knockin’ on Oscar’s door. Sponsored by Vue Save up to 30% on the latest releases at Vue in 2025 Are you a movie lover who always wants to be up to date with the latest releases? Then you're in luck, as RadioTimes.com readers can enjoy new films at Vue Cinemas for less. Customers will receive up to 30% off films with Vue Pass, as long as they have a RadioTimes.com account. It's a great time for new releases, with films such as Wicked, Nosferatu, The Brutalist and Moana 2 taking UK cinemas by storm. Head to your nearest Vue to catch these movies and more for up to 30% less if you're signed up as a RadioTimes.com member. Save up to 30% with Vue Pass The Academy Awards will take place on Sunday 2nd March. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more from the biggest stars in TV, listen to The Radio Times Podcast.
Oscars 2025: The case for Anora to win Best Picture
Catapulting Mikey Madison from rising star to leading lady, Anora puts a spiky but endearing twist on the Cinderella story.
Written by Lewis Knight From the opening titles set to a remix of Take That’s Greatest Day as strippers gyrate in the workplace of its lead heroine, Anora brings character to spare and then some. Of the films nominated for Best Picture at this year’s Oscars, none carry the same explosion of personality as Sean Baker’s film about a sex worker, Ani, who elopes with the awkward but charming son of a Russian oligarch. A vivid, empathetic, spiky and tragically comical 139 minutes, Anora feels like the answer to many classic cinema releases from yesteryear, not least the beloved romcom Pretty Woman with its Cinderella story of a sex worker finding love with a rich stranger. Of course, Anora is a totally different beast, enraptured with its lead heroine and her difficult journey, but is not divorced from realism. In exposing the delusional romantic notions of the Hollywood fairy tale, the practical realities of sex work, and the emptiness of the American Dream, Anora is never less than entertaining and vivid. View oEmbed on the source website Lead Mikey Madison is indeed a revelation as the brash and brittle titular protagonist, feeling natural, loud but totally heartbreaking. Meanwhile, Mark Eydelshteyn is also memorable as her oafish rich-kid love interest Vanya, but Best Supporting Actor nominee Yura Borisov is a magnetic "strong-silent" type as Igor, a henchman with a heart who crosses paths with Ani and offers a real meeting of souls in understated fashion. Baker’s funny, earnest and expressive film was worthy of its Palme d’Or win at the Cannes Film Festival – and thus certainly worthy of a Best Picture win. It showcases something that feels modern and fresh while demonstrates what cinema can do at its best – to step into the shoes of someone else with a sense of true authenticity. It can’t be said an Anora win here would be particularly groundbreaking, but it would certainly help shape the futures of the remarkable artists involved. Success for Anora at the Oscars here would be a true sign of mainstream achievement for indie darling Sean Baker after the previous critical successes of Tangerine, The Florida Project and Red Rocket, but it would also act as a further announcement of the talent of Madison. In fact, the nominations alone further solidify Baker’s status as one of America's finest working auteurs and Madison’s ability as a leading lady. Franchise offers surely beckon, but we hope this is an actress that continues to surprise us, particularly after her amusing but unsettling work in Once Upon a Time in Hollywood and Scream 5. <a id="menur1gc" class="fui-Link ___1q1shib f2hkw1w f3rmtva f1ewtqcl fyind8e f1k6fduh f1w7gpdv fk6fouc fjoy568 figsok6 f1s184ao f1mk8lai fnbmjn9 f1o700av f13mvf36 f1cmlufx f9n3di6 f1ids18y f1tx3yz7 f1deo86v f1eh06m1 f1iescvh fhgqx19 f1olyrje f1p93eir f1nev41a f1h8hb77 f1lqvz6u f10aw75t fsle3fq f17ae5zn" title="https://www.radiotimes.com/download-the-app/" href="https://www.radiotimes.com/download-the-app/" target="_blank" rel="noreferrer noopener" aria-label="Link Download the Radio Times app">Download the Radio Times app for more Oscars 2025 coverage – including interviews with the stars and exclusive features. Following her BAFTA win, Madison looks primed to be the main competition for Demi Moore to take home the Oscar for Best Actress. While Moore winning would certainly be recognition for both a gasp-worthy turn in The Substance and a lengthy career, Madison winning would truly shoot her career from rising star to arrived A-lister. Sometimes celebrating fresh talent can be even more surprising and earned. View Green Video on the source website A win for Anora would also be the second Best Picture win for US production and distribution company Neon, which has delivered some of the most exciting cinema in recent years, including Parasite. The main discourse that emerged regarding Baker's film in awards season followed a revelation from Madison on Variety’s Actors on Actors that she and co-star Eydelshteyn declined the offer to use an intimacy coordinator on set for sex scenes. But regardless of opinions on what should be the norm, focus should remain on the insistence from those involved that they always felt comfortable – meaning this controversy should not hinder any award potential. Ultimately, Anora might not be a Best Picture Oscar-winner to reinvent the wheel, but that doesn’t mean it's not deserving thanks to evocative and empathetic filmmaking with a revelatory lead performance. The Academy Awards will take place on Sunday 2nd March. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more from the biggest stars in TV, listen to The Radio Times Podcast.
Oscars 2025: The case for I'm Still Here to win Best Picture
The true-life drama from Brazilian veteran Walter Salles deserves to be more than a surprise nominee.
For awards fans and professional prognosticators, perhaps the biggest single surprise on Oscar nominations day was the inclusion of the Brazilian drama I’m Still Here among the 10 best-picture hopefuls. Lead performer Fernanda Torres capitalised on her Golden Globe win to reap a nomination of her own, while the film was also cited in the international feature field. But that third and final nomination, which made this just the 11th non-English language picture to be recognised in the top category, had been considered far from likely — so its miracle of a nomination should give just one indication of the film’s deep power. This is the true story of the Paiva family, whose patriarch Rubens (played by Selton Mello) is suddenly disappeared by the country’s military during the early 1970s. Rubens’s wife, Eunice (Torres), is also arrested and interrogated, and after her release fights for information on Rubens’s whereabouts while protecting the freedom of her five children. (It is a book by son Marcelo, played here by Guilherme Silveira and Antonio Saboia, that provides the basis for the film’s brilliantly structured screenplay.) Ultimately, the story is not about that horrifying moment, but about how Eunice and her family work to move on from it for the remainder of Brazil’s military dictatorship and beyond. Per the title, it’s about the act and the ethics of survival: keeping memories alive, preserving history, pursuing truth when so much has been deliberately suppressed. View oEmbed on the source website But for all the gravity of its subject matter, and the tense, thriller-y material of its traumatic middle act, much of the film’s effect rests on a sense of intimacy often forgotten in such tales of grand political history. The opening half-hour or so (out of a riveting and richly earned 136 minutes) follows the Paiva clan in the month leading up to Rubens’s arrest. Veteran director Walter Salles, a master of pacing, takes time to show us the group dynamic of this warm, loving middle-class family and the acquaintances who move in and out of their coastal home in Rio de Janeiro. It’s loose without growing languid, and the occasional allusions to Rubens’s small acts of resistance against the dictatorship are never excessively ominous. The ensemble cast feels as real and natural as the production’s low-key period stylings. In short, this film is alive and, better still, feels remarkably unburdened by its historical weight. It's that deft approach to its subject matter — not least a careful deployment of real and re-created 16mm "home movie" interstices — that provides I’m Still Here its deep resonance. Historical pictures can risk a sense of distance; but the dynamic naturalism of Salles’s drama smartly swerves the “couldn’t happen here” fallacy, despite its being set half a century ago. More directly, the film ends its narrative resolutely in the contemporary moment with an affecting coda set in 2014 that sees an elderly Eunice, still surrounded by her family but now living with advanced Alzheimer’s disease. Played in this section by Torres’s mother, the legendary Fernanda Montenegro, Eunice — who died in 2018 — comes to represent the profound nexus between political resistance, historical memory, and the importance of family. <a id="menur1gc" class="fui-Link ___1q1shib f2hkw1w f3rmtva f1ewtqcl fyind8e f1k6fduh f1w7gpdv fk6fouc fjoy568 figsok6 f1s184ao f1mk8lai fnbmjn9 f1o700av f13mvf36 f1cmlufx f9n3di6 f1ids18y f1tx3yz7 f1deo86v f1eh06m1 f1iescvh fhgqx19 f1olyrje f1p93eir f1nev41a f1h8hb77 f1lqvz6u f10aw75t fsle3fq f17ae5zn" title="https://www.radiotimes.com/download-the-app/" href="https://www.radiotimes.com/download-the-app/" target="_blank" rel="noreferrer noopener" aria-label="Link Download the Radio Times app">Download the Radio Times app for more Oscars 2025 coverage – including interviews with the stars and exclusive features. The stillness of Montenegro’s work in this final stretch is a poignant foil to Torres’s multi-layered performance of quiet dignity and unyielding strength throughout the rest of the film. It adds up to a portrait that transcends biographical re-creation and aims for something specific, universal and, in today’s troubling global political climate, heroic all at once. It’s the kind of sober yet non-didactic — and, again, alive — examination of real issues and ideas that the best of the best-picture winners aim for. View Green Video on the source website Unlike the self-consciously glib Conclave and Emilia Pérez, a win for I’m Still Here would show an Academy votership willing to engage with something genuinely substantive. Unlike Wicked: Part I, Dune: Part Two or, indeed, the Bob Dylan biopic A Complete Unknown, its hypothetical win would not double as a frankly dull and unnecessary endorsement for long-established studio safe bets. And were it to beat its Euro-festival peers Anora, The Brutalist and The Substance, it would be through sheer quality, rather than months of careful industry marketing tactics. (Which is not to say those films aren’t themselves excellent.) The "for your consideration" campaign for I’m Still Here focused initially on Torres’s performance; that so many voters seem to have organically fallen in love with and voted for the film in the Best Picture field is a heartening example of something rare in the modern awards season: a true grassroots trajectory. Sponsored by Vue Save up to 30% on the latest releases at Vue in 2025 Are you a movie lover who always wants to be up to date with the latest releases? Then you're in luck, as RadioTimes.com readers can enjoy new films at Vue Cinemas for less. Customers will receive up to 30% off films with Vue Pass, as long as they have a RadioTimes.com account. It's a great time for new releases, with films such as Wicked, Nosferatu, The Brutalist and Moana 2 taking UK cinemas by storm. Head to your nearest Vue to catch these movies and more for up to 30% less if you're signed up as a RadioTimes.com member. Save up to 30% with Vue Pass The Academy Awards will take place on Sunday 2nd March. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more from the biggest stars in TV, listen to The Radio Times Podcast.
Oscars 2025: The case for Nickel Boys to win Best Picture
This adaptation of Colson Whitehead’s Pulitzer Prize-winning novel is a heart-wrenching and formally daring film that has been overlooked in awards season.
On occasion, there’s a film or two in the Best Picture line-up whose inclusion feels like a minor miracle in itself; a film that, despite its undeniable merits, seems a little too artistically adventurous and radical for the notoriously safe Academy to actually honour. That’s certainly the case with RaMell Ross’s heart-wrenching and formally daring adaptation, Nickel Boys. Despite wide acclaim from critic groups, the unhelpful combination of a botched release strategy and a relatively muted awards campaign meant the film had looked almost certain to miss out on a place in the list right up until the moment its nomination was announced. But thankfully, it has made the cut. And while it is up against some terrific films in this year’s line-up – notably including Brady Corbet’s mesmerising three-and-a-half-hour epic The Brutalist – there should be no doubt that Nickel Boys would be the most deserving winner of the golden statuette. View oEmbed on the source website Taking already brilliant source material in the shape of Colson Whitehead’s Pulitzer Prize-winning novel, director Ross – best known for his 2018 documentary feature Hale County This Morning, This Evening – made the bold approach to shoot the film entirely from the visual point of view of its leads, with the perspective regularly switching between that of the two main characters Elwood (Ethan Herisse) and Curtis (Brandon Wilson). Far from being a pointless gimmick, this unique approach lends the film an intimacy and tactility that feels like the closest cinema has come to putting the audience directly in its characters' shoes. It’s a method so unconventional that some viewers may require a brief adjustment period to get used to the way the film looks and feels, but it won’t take long to draw you under its spell: creating a profoundly immersive experience punctuated by both fleeting moments of lyrical beauty and some deeply harrowing scenes. Set in Jim Crow-era Florida, the film tells the story of Elwood, a young African-American teenager whose dream of studying at a tuition-free college is torn apart when he is wrongly implicated in a car theft. He is duly sent to a brutal, racially segregated reform school – called Nickel Academy – where he finds himself living against a backdrop of unbearable cruelty, meted out both by fellow students and the school's deeply racist staff. View Green Video on the source website Some rare solace comes in the form of the friendship he forms with a fellow student, the quietly rebellious Turner (Brandon Wilson), who shares Elwood’s disillusionment even if he’s rather more cynical about his attempts to seek hope and salvation by orchestrating a way for them to leave Nickel. Meanwhile, a number of flash forwards show an adult Elwood now living in New York City – which eventually leads to a fascinating, very moving reveal that we won’t spoil here. Even aside from the audacious nature of its central formal conceit, the film is impeccably well made from a technical perspective and the impressionistic flourishes Ross adds – including some innovative use of archival footage – give the film a poetic quality, that builds to an astounding third act montage. The cast are also superb throughout, and it seems essential to give special mention to Aunjanue Ellis-Taylor, who is remarkable in a supporting role as Elwood's grandmother and shines in some of the film's most raw and affecting moments. She can feel especially aggrieved to have missed out on a nomination for her performance. <a id="menur1gc" class="fui-Link ___1q1shib f2hkw1w f3rmtva f1ewtqcl fyind8e f1k6fduh f1w7gpdv fk6fouc fjoy568 figsok6 f1s184ao f1mk8lai fnbmjn9 f1o700av f13mvf36 f1cmlufx f9n3di6 f1ids18y f1tx3yz7 f1deo86v f1eh06m1 f1iescvh fhgqx19 f1olyrje f1p93eir f1nev41a f1h8hb77 f1lqvz6u f10aw75t fsle3fq f17ae5zn" title="https://www.radiotimes.com/download-the-app/" href="https://www.radiotimes.com/download-the-app/" target="_blank" rel="noreferrer noopener" aria-label="Link Download the Radio Times app">Download the Radio Times app for more Oscars 2025 coverage – including interviews with the stars and exclusive features. Indeed, while it’s so great to see it feature in the Best Picture category, the film on the whole can feel short-changed to have secured so few nominations besides that. An adapted screenplay nod for Ross and co-writer Joslyn Barnes is welcome, but it's hard to make sense of how the former could have been passed over for a Best Director nomination in favour of, for example, James Mangold – whose Bob Dylan biopic A Complete Unknown is directed competently but almost entirely conventionally. That lack of other nominations – coupled with the fact the film doesn’t have many wins at the significant precursor awards shows – makes an actual Best Picture win seem all but impossible. But the fact that such an experimental film has been nominated at all is cause for celebration; we can live in hope that it somehow finds a way to secure the win. Sponsored by Vue Save up to 30% on the latest releases at Vue in 2025 Are you a movie lover who always wants to be up to date with the latest releases? Then you're in luck, as RadioTimes.com readers can enjoy new films at Vue Cinemas for less. Customers will receive up to 30% off films with Vue Pass, as long as they have a RadioTimes.com account. It's a great time for new releases, with films such as Wicked, Nosferatu, The Brutalist and Moana 2 taking UK cinemas by storm. Head to your nearest Vue to catch these movies and more for up to 30% less if you're signed up as a RadioTimes.com member. Save up to 30% with Vue Pass The Academy Awards will take place on Sunday 2nd March. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more from the biggest stars in TV, listen to The Radio Times Podcast.
Oscars 2025: The case for The Substance to win Best Picture
Horror may not be a genre often recognised by the Academy, but The Substance is no less thought-provoking, creative or entertaining than any of the other nominees.
Horror as a genre has historically been snubbed at the Oscars. Since 1929, only six horror films have ever been nominated for Best Picture: The Exorcist (1973), Jaws (1975), The Silence of the Lambs (1991), The Sixth Sense (1999), Black Swan (2010), and Get Out (2017). Of those, only The Silence of the Lambs (1991) actually won, and, if you really want to get technical, it’s more of a psychological thriller anyway. Needless to say, it would be a major surprise if The Substance took home the Best Picture Oscar this year. The appetite for horror movies has been steadily growing. More than 1,500 were released in 2023, in comparison to 1,140 in 2013, according to the Horror Movie Report. Yet, Jason Blum, of Blumhouse Productions, who produced Get Out, told Screen Daily, “I think there’s still a good section of the Academy that dismisses horror, no matter what the movie is. There’s a group of them who will not vote for, or even watch, a scary movie.” Just look at Terrifier 3, a huge box office success that became the highest-grossing unrated film of all time. It never was going to get a look-in at the awards. Whether it’s seen as too “low-brow” or too gory, it certainly doesn’t fit the “elevated” horror (a snobby term, especially for true fans of the genre) category that the Academy finds palatable. The Substance is a body-horror, with grotesquely impressive prostheses and make-up instead of CGI, and its themes run deep. When Elisabeth Sparkle (Demi Moore) is fired by her producer from her aerobics show for being too old, she learns about The Substance, a serum that, when injected, turns her into a younger version of herself called Sue (played by a charismatic Margaret Qualley). The catch is that the pair must switch bodies every week. If they don’t, they both suffer grave physical side effects. Some critics have said that The Substance is shallow and lacks exactly what its title suggests, but that’s misguided. It’s a visceral satire of society’s obsession with youth and beauty. Director Coralie Fargeat told ABC News that genre films, particularly horror, often have "very political messages at their core that have been a very powerful way to talk about society, to talk about humanity through our fears, through our desires, through our hopes. I think they can be a super powerful mirror of our society, of what we're scared about, of what we desire so much that we can put ourselves in danger to try and achieve it. I think they are a very relevant way to speak about our world.” The fear of ageing, coupled with impossible beauty standards for women, is relatable for audiences, and casting Demi Moore was genius. The 62-year-old star, who began her acting career in the 80s, playing a woman desperately clinging to fame and relevance, marries up with her own experiences in the industry, where Hollywood is always looking for the youngest, hottest, new thing. The tragedy of it all is that Moore as Sparkle is so beautiful, yet her character can’t see it, and she ends up mutilating and destroying herself in her path to “perfection”. View oEmbed on the source website Moore is also nominated for the Best Actress Oscar, and she picked up the Golden Globe award for Best Actress in a Motion Picture Comedy or Musical – the first acting award she’s won in her 45-year career. During her acceptance speech, she said, “30 years ago, I had a producer tell me that I was a popcorn actress, and at that time, I made that mean that this wasn’t something that I was allowed to have. That I could do movies that were successful that made a lot of money, but that I couldn’t be acknowledged, and I believed that.” <a id="menur1gc" class="fui-Link ___1q1shib f2hkw1w f3rmtva f1ewtqcl fyind8e f1k6fduh f1w7gpdv fk6fouc fjoy568 figsok6 f1s184ao f1mk8lai fnbmjn9 f1o700av f13mvf36 f1cmlufx f9n3di6 f1ids18y f1tx3yz7 f1deo86v f1eh06m1 f1iescvh fhgqx19 f1olyrje f1p93eir f1nev41a f1h8hb77 f1lqvz6u f10aw75t fsle3fq f17ae5zn" title="https://www.radiotimes.com/download-the-app/" href="https://www.radiotimes.com/download-the-app/" target="_blank" rel="noreferrer noopener" aria-label="Link Download the Radio Times app">Download the Radio Times app for more Oscars 2025 coverage – including interviews with the stars and exclusive features. She went on to say, “I’ll just leave you with one thing that I think this movie is imparting. In those moments when we don’t think we’re smart enough or pretty enough or skinny enough or successful enough or basically just not enough – I had a woman say to me, just know, you will never be enough, but you can know the value of your worth if you just put down the measuring stick.” Not only is Moore enough, but horror is enough to win Best Picture. It’s no less thought-provoking, creative or entertaining than any of the other nominees – let’s finally award it as such. Sponsored by Vue Save up to 30% on the latest releases at Vue in 2025 Are you a movie lover who always wants to be up to date with the latest releases? Then you're in luck, as RadioTimes.com readers can enjoy new films at Vue Cinemas for less. Customers will receive up to 30% off films with Vue Pass, as long as they have a RadioTimes.com account. It's a great time for new releases, with films such as Wicked, Nosferatu, The Brutalist and Moana 2 taking UK cinemas by storm. Head to your nearest Vue to catch these movies and more for up to 30% less if you're signed up as a RadioTimes.com member. Save up to 30% with Vue Pass The Academy Awards will take place on Sunday 2nd March. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more from the biggest stars in TV, listen to The Radio Times Podcast.
What are the most talked-about Oscars moments ever?
From Will Smith and Chris Rock's altercation to the La La Land and Moonlight Academy Awards mix-up, here are the most shocking Oscar moments of all time.
This weekend, it's time for the Oscars ceremony to roll round once again – and while film fans will be desperate to see which movie becomes the latest to be crowned Best Picture by the Academy, some fans will also be hoping for one or two unexpected moments. Over the years, the Academy Awards have provided a fair share of memorable talking points – both good and bad – that have come to dominate the conversation arguably even more than the actual results. Perhaps the most recent case to truly shock audiences came in 2022, when there was a now infamous altercation between Will Smith – shortly before he was crowned Best Actor winner – and comedian Chris Rock, which saw the latter take to the stage to slap the former. We'll be hoping that any big moments from this year's ceremony are rather less dramatic – but while we await the big night, read on for some more of the most memorable moments from recent Oscar history. Will Smith slaps Chris Rock View oEmbed on the source website Perhaps the most recent Oscar moment to dominate headlines came at 2022's 94th Academy Awards, when Will Smith slapped Chris Rock across the face after the comic made a joke referring to his wife Jada Pinkett Smith's alopecia. Rock joked that she was preparing for a role in a fictional GI Jane sequel, as the military drama is remembered for starring Demi Moore with a shaved head. Pinkett Smith looked visibly unamused by the gag, with her husband storming onto the stage moments later to strike Rock, telling him: "Keep my wife's name out your f**king mouth!" La La Land mistakenly announced as Best Picture View oEmbed on the source website The competition for Best Picture at the 89th Academy Awards had become a two-horse race over preceding ceremonies, with romantic musical La La Land and hard-hitting drama Moonlight deemed the top contenders. Ultimately, it was La La Land that was mistakenly announced as the winner by reunited Bonnie and Clyde stars Faye Dunaway and Warren Beatty – but in a painfully awkward moment, it emerged that Moonlight was the true victor. The team behind La La Land graciously handed back their trophies, allowing the Moonlight cast and crew time to give some speeches before the ceremony came to a dramatic end. On the bright side, this moment definitively settled the long-held conspiracy theory that Marisa Tomei was given her 1992 award for My Cousin Vinny in error, as the Academy is clearly not too proud to 'fess up when mistakes are made. Ellen DeGeneres breaks Twitter View oEmbed on the source website At the 86th Academy Awards, host Ellen DeGeneres took the record for most retweeted Twitter post of all-time, when she rounded up a group of famous actors for what she called the "best photo ever". Among the stars featured in the legendary snap are Jennifer Lawrence, Lupita Nyong'o, Meryl Streep, Brad Pitt and Bradley Cooper, the latter of whom being the one who took the photo. This remained the most-shared tweet of all time until 2017, when it was surpassed by a man named Carter Wilkerson's attempt to get a year's supply of free chicken nuggets from US fast food chain Wendy's. Seriously. John Travolta misnames Idina Menzel View oEmbed on the source website Another memorable moment from the 86th Academy Awards came as Broadway star and Frozen singer Idina Menzel prepared to belt out a rendition of Let It Go. Few people remember the performance as much as what came before it, when actor John Travolta introduced her as "the wickedly talented, one and only Adele Dazeem". If that wasn't awkward enough, Menzel would be fielding questions about the incident for months to come, before later getting her own back in a skit the following year. Jennifer Lawrence falls The previous year, Oscar selfie participant Jennifer Lawrence earned a standing ovation when she went on stage to collect her Academy Award for Best Actress – but not for why you might expect. While her performance in 2013's Silver Linings Playbook was undoubtedly brilliant, what really got the crowd in the room on her side was an unfortunate stumble up the steps to the stage. "You guys are just standing up because you feel bad that I fell and that's really embarrassing, but thank you," she said. Adrien Brody kisses Halle Berry View oEmbed on the source website At the 75th Academy Awards, Adrien Brody took home Best Actor for his powerful performance in holocaust drama The Pianist and expressed his gratitude in a most unexpected way. He approached Halle Berry on the stage, who was presenting the award, and gave her a long, passionate kiss, which is rather odd considering that he barely knew her. Even in a pre-#MeToo era, it came across as a highly uncomfortable moment, particularly as Berry went on to explain that the gesture was a complete surprise. “I just f**king went with it,” she told Andy Cohen in 2017. “I don’t know [if it was good]. I was too focused on ‘What the f**k is going on right now?’” Lady Gaga and Bradley Cooper perform Shallow View oEmbed on the source website There have been a number of excellent musical performances at the Academy Awards since the ceremony began, but few have captured people's imaginations quite like Lady Gaga and Bradley Cooper's rendition of Shallow. Fans praised the steamy romantic chemistry between the two, which was also present in Shallow's associated film A Star Is Born, while the audience in the room gave them a standing ovation. The performance clearly has re-watchability too as it has been viewed more than half a billion times on YouTube since its official upload on Lady Gaga's channel in February 2019. Sponsored by Vue Save up to 30% on the latest releases at Vue in 2025 Are you a movie lover who always wants to be up to date with the latest releases? Then you're in luck, as RadioTimes.com readers can enjoy new films at Vue Cinemas for less. Customers will receive up to 30% off films with Vue Pass, as long as they have a RadioTimes.com account. It's a great time for new releases, with films such as Wicked, Nosferatu, The Brutalist and Moana 2 taking UK cinemas by storm. Head to your nearest Vue to catch these movies and more for up to 30% less if you're signed up as a RadioTimes.com member. Save up to 30% with Vue Pass The Academy Awards will take place on Sunday 2nd March. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more from the biggest stars in TV, listen to The Radio Times Podcast.
Oscars 2025: The case for Wicked to win Best Picture
The pressure was on for The Wizard of Oz prequel, but Cynthia Erivo, Ariana Grande and director Jon M Chu should be commended for adapting the stage show with such flair.
The buzz surrounding Wicked being an Oscars contender is hard to ignore, and it’s easy to see why. Beyond its dazzling musical numbers and standout performances, Wicked’s record-breaking release marked a milestone in the evolution of film musicals. Directed by Critics Choice winner Jon M Chu, of Crazy Rich Asians and In the Heights fame, the film is split into two parts, mirroring the original stage show. While we’ll have to wait until November for the full story, the first part has already earned its spot among the Best Picture nominees. The success of Wicked largely lies in its casting. Ariana Grande as Glinda and Cynthia Erivo as Elphaba bring powerhouse vocals and captivating performances. Grande, who has already earned her singing stripes, has proved herself a skilled actor with an impressive knack for physical comedy. Erivo accentuates Elphaba's emotional complexity in a performance that towers over those fellow nominees in the Leading Actress category. The chemistry between these two leads is also electric, and while their cuddly press campaign was a source of online mockery – in "holding space" and each other’s hands – they showed us how the unique friendship of the witches of Oz clearly transcended beyond the film. The supporting cast, meanwhile, only adds to the film's strength thanks to Jonathan Bailey, Michelle Yeoh, Jeff Goldblum and Ethan Slater as a now-TikTok-famous munchkin named Boq. While Wicked is known for its powerful musical numbers, the story is what sets it apart. A prequel to L Frank Baum’s The Wizard of Oz, its themes of prejudice, rivalry, and discrimination reflect those in other nominated films, strengthening Wicked’s deserved place among them. Elphaba’s rejection by her family and peers due to her green skin is a tough but important watch, elevating the fantasy musical to a thought-provoking portrayal of identity and acceptance. Through its complex and changing characters, the film doesn’t just focus on good versus evil – it explores the grey areas, making it a meaningful commentary on society. <a id="menur1gc" class="fui-Link ___1q1shib f2hkw1w f3rmtva f1ewtqcl fyind8e f1k6fduh f1w7gpdv fk6fouc fjoy568 figsok6 f1s184ao f1mk8lai fnbmjn9 f1o700av f13mvf36 f1cmlufx f9n3di6 f1ids18y f1tx3yz7 f1deo86v f1eh06m1 f1iescvh fhgqx19 f1olyrje f1p93eir f1nev41a f1h8hb77 f1lqvz6u f10aw75t fsle3fq f17ae5zn" title="https://www.radiotimes.com/download-the-app/" href="https://www.radiotimes.com/download-the-app/" target="_blank" rel="noreferrer noopener" aria-label="Link Download the Radio Times app">Download the Radio Times app for more Oscars 2025 coverage – including interviews with the stars and exclusive features. Wicked’s cinematography and design are also of the highest order, as shown by the Baftas for costume and production. Oz is brought to life in breathtaking detail, from the vibrant tulip fields of Munchkin Land to Fiyero’s midnight blue horse and the gleaming Emerald City. The slick dance performances, new-and-improved script and clever cameos enhance the 22-year-old show, keeping in all the best bits while highlighting areas that often go unnoticed on stage. The brief use of stained glass to reflect Elphaba’s changing skin colour in the musical number, The Wizard and I, is reason enough to applaud the film-makers’ genius creative choices. With an $145 million budget, no expense has been spared to ensure the film is as visually stunning as it is emotionally rich. <img src="https://images.immediate.co.uk/production/volatile/sites/3/2024/10/2Y7YFHC-4a7f7fc-e1729507940466.jpg" width="3330" height="2217" alt="Ariana Grande and Cynthia Erivo in Wicked standing together, looking ponderous" title="USA. Ariana Grande and Cynthia Erivo in (C) Universal Pictures film, Wicked (2024) Director: Jn M. ChuWriters: L.Frank Baum, Dana Fox and Winnie HolzmanSource: L.Frank Baum?s The Wizard of Oz Ref:LMK106-011024-002Supplied by LMKMEDIA. Editorial O" /> With decades of anticipation and the building of immense pressure, Wicked could’ve easily disappointed. And yet the film exceeds expectations, not only satisfying fans but also attracting new audiences and critics. To award Wicked Best Picture would confirm its position as a film to be taken seriously, and a piece of art to be equally appreciated on both stage and screen. For Wicked is a global phenomenon. The stage show has been seen by over 65 million people across 16 countries, and with more than 100 awards under its proverbial belt, including three Tonys, two Oliviers, and a Grammy, Wicked has proven its ability to captivate critics and crowds. In bridging the gap between stage and screen, the film has brought a polished version of the beloved story to wider audiences, defining its impact as a strong cinematic contributor. View oEmbed on the source website As for their separate acting recognitions, the leads also have a lot to play for. But for the long-time Wicked fan in Grande, perhaps just stepping into Glinda’s pink heels – a role she’s dreamed of since 2011 – may be enough of a trophy. If Erivo wins, she’ll join the "EGOT" club as a winner of an Emmy, Grammy, Oscar and Tony – an achievement that would cement her legacy as one of the greatest performers of her generation. Her talent, dedication and firm grip on this colossal role is the highlight of the film. In a time when musical films are too often dismissed, Wicked’s Best Picture nomination, along with that of Emilia Peréz, shows that the genre can stand alongside traditional Oscar contenders. Musicals like Wicked are no longer just lighter fare – they’ve earned a seat at the table with films that have long dominated the Oscar conversation. Sponsored by Vue Save up to 30% on the latest releases at Vue in 2025 Are you a movie lover who always wants to be up to date with the latest releases? Then you're in luck, as RadioTimes.com readers can enjoy new films at Vue Cinemas for less. Customers will receive up to 30% off films with Vue Pass, as long as they have a RadioTimes.com account. It's a great time for new releases, with films such as Wicked, Nosferatu, The Brutalist and Moana 2 taking UK cinemas by storm. Head to your nearest Vue to catch these movies and more for up to 30% less if you're signed up as a RadioTimes.com member. Save up to 30% with Vue Pass The Academy Awards will take place on Sunday 2nd March. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more from the biggest stars in TV, listen to The Radio Times Podcast.
Oscars 2025: The case for Conclave to win Best Picture
Set within the intriguing hushed corridors of the Vatican, Conclave is a quietly brilliant contender for Best Picture.
Of all this year’s Oscar nominees for Best Picture, from the epic (Dune: Part Two) to the esoteric (Emilia Pérez), it is Conclave that carries the baton for conversational, contemplative film-making that eschews super-sentiment and sensationalism. The follow-up to All Quiet on the Western Front from German director Edward Berger leans into its majestic setting to create a deceptively serene environment for passionate power-play and all-too-human interaction, and shares a wonderful script between actors all working at the peak of their skill. In short, it’s the kind of film that used to win Best Picture at the Academy Awards in years gone by. Unlike its rivals in this category, Conclave is a story in a world kept deliberately narrow – within the corridors and private rooms of the innermost parts of the Vatican, beneath the ceiling of the Sistine Chapel – and deliberately limited in timescale. The cardinals summoned to Rome on the sudden death of the Pope are cloistered, as is the age-old custom, away from the real world and its concerns, without complete success as we learn, into the conclave of the title; they have only one job, to farewell their leader and elect his successor. The dramatisation of this ancient process is rich with detail: the red of the Cardinals’ cassocks stark against the white of the Vatican, their voting papers being carefully burnt, the smoke appearing from the chimney above. Against this background of ritual, the cardinals, in most genteel fashion, jostle for position, often in secret meetings on staircases, where alliances are formed then broken, and dilemmas arise between ideology, pragmatism and, above all, power. Robert Harris clearly found fertile soil in his 2016 bestselling novel, lovingly adapted for screen by BAFTA winner Peter Straughan. By necessity in depicting this world, it is a male-dominated film (the screen reflecting the Vatican where some lifelong serving nuns recently shared they had never met the Pontiff) but it is telling that Isabella Rossellini’s eight minutes on screen as housekeeper Sister Agnes have been enough to secure her a Best Supporting Actress Oscar nod. Even in this hermetically sealed space, a woman’s presence – and what she has to say – proves a turning point. Every performance is sublime, even the sometimes hammy Stanley Tucci adapting his tone to suit the confines of the whispering walls. At the centre of it all is Ralph Fiennes’s towering, troubled presence as Cardinal Thomas Lawrence, tasked with overseeing a faithful, but also fortuitous, election process. The consistently excellent Fiennes has long been the bridesmaid throughout awards season – his Oscar tally remains no wins from two previous nominations (better than at BAFTA, where he has come away empty-handed six times since his 1993 win for Schindler’s List). Surely it's time to reward his efforts. <a id="menur1gc" class="fui-Link ___1q1shib f2hkw1w f3rmtva f1ewtqcl fyind8e f1k6fduh f1w7gpdv fk6fouc fjoy568 figsok6 f1s184ao f1mk8lai fnbmjn9 f1o700av f13mvf36 f1cmlufx f9n3di6 f1ids18y f1tx3yz7 f1deo86v f1eh06m1 f1iescvh fhgqx19 f1olyrje f1p93eir f1nev41a f1h8hb77 f1lqvz6u f10aw75t fsle3fq f17ae5zn" title="https://www.radiotimes.com/download-the-app/" href="https://www.radiotimes.com/download-the-app/" target="_blank" rel="noreferrer noopener" aria-label="Link Download the Radio Times app">Download the Radio Times app for more Oscars 2025 coverage – including interviews with the stars and exclusive features. The recent BAFTAs told the story of this season: no runaway favourite, instead two very different horses initially out in front: Emilia Pérez, which was bought and streamed by Netflix, and The Brutalist, which comes in at 3 hours 35 minutes, even offering an old-school intermission for cinema-goers. Pérez, though, has all but fallen off the stage, after an awards campaign that even Netflix boss Bela Bajaria calls “a bummer” – namely that uncovered old tweets by its lead actress Karla Sofía Gascón revealed anti-Islamic sentiment, comments on the murder of George Floyd and even pokes at the diversity aims of the Oscars. View oEmbed on the source website The Best Actress nominee has been all but cancelled from awards season, the film’s fortunes have floundered, and Zoe Saldaña was lucky to bag a gong for her supporting role, one of only two awards from 10 nominations. The Brutalist, meanwhile, has come in for scrutiny regarding its use of AI technology to support the lead actors Hungarian-speaking moments: not a good look for a film made the same year almost everyone in movie-land went out on strike to protest against that very thing and the risk it posed to real-life, hard-working human actors. It would be beautifully fitting if these and other titles were to compete for Oscar glory, only to falter and fall away, leaving the quietly brilliant Conclave to conquer. As with the ways of the Vatican, so with the Academy – might there be a last-minute twist? Sponsored by Vue Save up to 30% on the latest releases at Vue in 2025 Are you a movie lover who always wants to be up to date with the latest releases? Then you're in luck, as RadioTimes.com readers can enjoy new films at Vue Cinemas for less. Customers will receive up to 30% off films with Vue Pass, as long as they have a RadioTimes.com account. It's a great time for new releases, with films such as Wicked, Nosferatu, The Brutalist and Moana 2 taking UK cinemas by storm. Head to your nearest Vue to catch these movies and more for up to 30% less if you're signed up as a RadioTimes.com member. Save up to 30% with Vue Pass The Academy Awards will take place on Sunday 2nd March. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more from the biggest stars in TV, listen to The Radio Times Podcast.
Oscars 2025: The case for Dune Part Two to win Best Picture
With the Academy failing to see science fiction as serious business too often, Denis Villeneuve's sequel should be recognised for a remarkable achievement that transcends genre.
The Mahdi is too humble to say he is the Mahdi. And Denis Villeneuve is probably too humble to say he is the saviour of sci-fi. But for fans of the genre who have seen countless mind-blowing adventures into the outer depths of space ignored by awards bodies for so long, the Canadian is taking on that mantle whether he likes it or not. Most of us who sat ourselves in a cinema for the much-anticipated finale to Paul Atreides’s (Timothée Chalamet) revenge arc back in March 2024 did so with the kind of wide-eyed awe that Javier Bardem brought to his character, Stilgar, whenever the prophet known as the "Lisan al-Gaib" did as little as breathed. Yet are there enough sci-fi fans on the Academy’s voting board to make this a winner? It seems unlikely. After all, if you count Guillermo del Toro’s The Shape of Water as more of a fantasy, then Everything Everywhere All At Once is the only sci-fi film in history to win Best Picture at the Oscars, demonstrating just how hard it is for such stories to take home the biggest prize. <a id="menur1gc" class="fui-Link ___1q1shib f2hkw1w f3rmtva f1ewtqcl fyind8e f1k6fduh f1w7gpdv fk6fouc fjoy568 figsok6 f1s184ao f1mk8lai fnbmjn9 f1o700av f13mvf36 f1cmlufx f9n3di6 f1ids18y f1tx3yz7 f1deo86v f1eh06m1 f1iescvh fhgqx19 f1olyrje f1p93eir f1nev41a f1h8hb77 f1lqvz6u f10aw75t fsle3fq f17ae5zn" title="https://www.radiotimes.com/download-the-app/" href="https://www.radiotimes.com/download-the-app/" target="_blank" rel="noreferrer noopener" aria-label="Link Download the Radio Times app">Download the Radio Times app for more Oscars 2025 coverage – including interviews with the stars and exclusive features. This is because, unfortunately, it appears many in the Academy fail to see sci-fi as serious business. Looking back through Best Picture winners both recent and historic, there’s often a focus on proper movies – cut-and-dry dramas with powerful performances, often inspired by a real-life person, real-life event – or both. But should that always be the case? Should a masterpiece be overlooked simply because it has strange planets and spaceships? I would argue no, and add that if Dune: Part Two is not deemed worthy of the top accolade, then no out-and-out sci-fi ever will be. From a purely science-fiction perspective, what Villeneuve achieved with this second outing to Arrakis was utterly remarkable. Creating varied worlds and characters who still feel real and authentic, the director made Dune: Part Two an example of everything that the genre was created for. It’s transportive, hypnotic, the kind of immersive experience that can only be fully appreciated on the biggest screen possible. If the Academy Awards exist for anything, is it not to celebrate such accomplishments? To spotlight works of art that make the most of the possibilities provided by this medium? Yet, looking at Dune: Part Two through a wider filmic lens, it’s a movie that goes far beyond the boundaries of its genre. Through adapting the epic tale laid out in Frank Herbert’s source novel, there is genuine drama in the storytelling, a Shakespearean battle for power that culminates in a truly shocking finale. Sponsored by Vue Save up to 30% on the latest releases at Vue in 2025 Are you a movie lover who always wants to be up to date with the latest releases? Then you're in luck, as RadioTimes.com readers can enjoy new films at Vue Cinemas for less. Customers will receive up to 30% off films with Vue Pass, as long as they have a RadioTimes.com account. It's a great time for new releases, with films such as Wicked, Nosferatu, The Brutalist and Moana 2 taking UK cinemas by storm. Head to your nearest Vue to catch these movies and more for up to 30% less if you're signed up as a RadioTimes.com member. Save up to 30% with Vue Pass Said tale makes the most of its starry cast’s abilities, not least Chalamet in the lead role, who grows from loser to leader across 170 captivating minutes, as Paul reckons with his destiny and becomes the ruthless warrior he needs to be. While the New Yorker is nominated in the Best Actor category for A Complete Unknown this year, there’s an argument to suggest he puts in a much more layered, enthralling performance here. And through weaving his typical arthouse tendencies into traditional blockbuster filmmaking, Villeneuve creates a spectacle that is as accessible as it is eccentric. There’s a reason that this film and Part One smashed box-office expectations: these films captured a broad range of viewers’ imaginations like very little else in recent years, and have infiltrated pop culture to an extent that other frontrunners like Emilia Pérez and The Brutalist could only dream of. View Green Video on the source website To overlook all of these achievements simply because it has sandworms and horn-wearing Harkonnens would be a real disservice to the craft of Villeneuve and his dedicated team. There are ample reasons why out-and-out sci-fi has been neglected by the Oscars in the past, whether this writer agrees with them or not, but this feels like a defining moment for the genre. If the Lisan al-Gaib of hard science fiction can’t take home the biggest prize, it’s hard to imagine that anyone ever will. The Academy Awards will take place on Sunday 2nd March. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more from the biggest stars in TV, listen to The Radio Times Podcast.
Oscars 2025: The case for The Brutalist to win Best Picture
Starring Adrien Brody, the American epic from director Brady Corbet towers over the competition in more ways than one...
Like Lady Liberty on the Hudson River in its opening scene, The Brutalist looms large. The third film from American writer/director Brady Corbet is, in our RadioTimes.com review’s words, an “epic in length, weight and ambition” — and at three hours and 35 minutes, it stands aloft on this year’s ballots, as striking and bold as any of the buildings designed by its architect protagonist. A win in the Best Picture category on Oscars Sunday would make the film the longest winner since Ben-Hur in 1960 and the fourth longest in history, after William Wyler’s religious epic, Lawrence of Arabia and Gone with the Wind. But bigger isn’t always better – and, in fact, a 215-minute runtime makes the film a harder sell. In a time when our attention spans are purported to have been cut by small screens, The Brutalist being this year’s Oscar frontrunner is a testament to the film’s sweep and gripping narrative momentum. To paraphrase how Guy Pearce’s vain industrialist describes his conversations with Adrien Brody’s László Tóth, it’s simply: “persuasive and intellectually stimulating”. Download the Radio Times app for more Oscars 2025 coverage – including interviews with the stars and exclusive features. The story follows a Jewish architect from Budapest (Brody) working for a wealthy client (Pearce) after arriving in Pennsylvania having survived the Holocaust and being separated from his wife (Felicity Jones). If that sounds like it’s all about blueprints, concrete and cranes, fear not. This is a film with broad scope and rich thematic heft, with plenty to say about the tension between art and commerce, plus the myth of the American Dream. As a result, the film positions itself in the cinematic traditions of Orson Welles, The Godfather trilogy, Fitzcarraldo and There Will Be Blood – but The Brutalist was made for a fraction of the cost. Reports of a mere $10 million budget heralded Corbet’s work as a staggering feat in terms both artistic and economic. A world premiere at the Venice Film Festival was met with critical acclaim and a Best Director award for Corbet, and Oscar prospects have only grown since. While Emilia Pérez came to the fore and stuttered in scandal, and Anora’s ability to seduce voters with comedy and sex work was questioned, The Brutalist stood tall and became difficult to deny. In Corbet, you have a young director painting on a vast canvas with thrilling confidence, while Brody is on the imperious form that saw him steam to an Oscar win for The Pianist. Of course, it hasn’t all been plain-sailing. In an interview with film industry publication Red Shark News last month, editor Dávid Jancsó revealed that Brody and Jones’s Hungarian accents had been occasionally augmented by AI software in sound editing, which led to some people questioning the film’s artistic integrity. However, when informed industry folk soon pointed out the prevalence of such tech tweakage in modern film-making, the story seemed like a storm in a teacup. Quite how much that controversy will hinder The Brutalist at the Oscars remains to be seen, but its chances should be unexpectedly strengthened by Hollywood’s tendency to dole out prizes to life stories of real figures. Just like the Cate Blanchett-led Tár of 2022, The Brutalist’s textured portraiture builds a lead character so convincingly that many are surprised to learn it’s all fictitious – to the point where our RadioTimes.com team felt the need to write a piece clarifying that the film is indeed not based on a true story. View Green Video on the source website That is not to say that Brady Corbet’s film is a cynically designed piece of Oscar-bait in the shape of a Marcel Breuer pseudo-biopic, though. Rather, it’s a leisurely paced independent film made with a novelistic sensibility and scenes of sexual abuse and heroin addiction. A lazy comparison could be drawn to last year’s Best Picture winner, Oppenheimer, purely as a long, mid-century drama about one man’s project against the odds – but make no mistake, Christopher Nolan’s $100-million film was never an underdog. The Brutalist’s form, weight and origins would see it rank as one of the most subversive Best Picture winners of the century so far. Released the very same week as the 2025 Presidential Inauguration, The Brutalist only grows more pertinent in how it depicts the US to be a long way from the land of opportunity it professes to be. In other words: there’s a reason Lady Liberty is upside down in that opening sequence. And in the fraught rapport between Tóth and van Buren, Corbet and Mona Fastvold’s script delivers hard truths about how a relationship between artist and patron can be both mutually beneficial and exploitative. To say this in Hollywood, of all places, is brave – and leaves one wondering: if the Oscars are not there to celebrate such films to reckon with, what are they for? Sponsored by Vue Save up to 30% on the latest releases at Vue in 2025 Are you a movie lover who always wants to be up to date with the latest releases? Then you're in luck, as RadioTimes.com readers can enjoy new films at Vue Cinemas for less. Customers will receive up to 30% off films with Vue Pass, as long as they have a RadioTimes.com account. It's a great time for new releases, with films such as Wicked, Nosferatu, The Brutalist and Moana 2 taking UK cinemas by storm. Head to your nearest Vue to catch these movies and more for up to 30% less if you're signed up as a RadioTimes.com member. Save up to 30% with Vue Pass The Academy Awards will take place on Sunday 2nd March. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more from the biggest stars in TV, listen to The Radio Times Podcast.
Oscar predictions 2025: Who will win and should win Best Director?
With just a few days until the ceremony, there are two clear frontrunners for the award.
As with this year’s Best Picture Oscar, it looks to be a case of sex work versus architecture for 2025’s Best Director award. Sean Baker’s madcap screwball comedy drama Anora, about a stripper who marries the son of a Russian oligarch, has won enough film-festival and critics’-choice awards to fill any mantlepiece – and yet the writer/director has only been a bookie’s frontrunner fleetingly. That’s because Brady Corbet and The Brutalist have been at least as big a presence on the Hollywood awards’ circuit, thanks to the colossal epic starring Adrien Brody as a mid-century Hungarian architect. At first glance, the rest of the field appears strong, thanks to all the other nominees being behind the camera for Best Picture contenders. However, there is little serious threat to the Baker and Corbet, who appear to be in a tight two-horse race, according to Hollywood pundits who read the runes like ex-footballers watch replays on Match of the Day. After Walk the Line and Le Mans ’66, James Mangold is seen as an exceedingly secure pair of hands for a true-life drama, but his Bob Dylan biopic A Complete Unknown is perhaps too unspectacular and familiar to gain traction for a direction prize. Jacques Audiard of Emilia Pérez, meanwhile, is a seasoned figure in European festivals, where he has often been feted, yet his Netflix cartel-crime-drama-cum-musical lost momentum after star Karla Sofía Gascón was discovered to have posted a number of problematic tweets – and although Audiard has distanced himself from his leading lady, he now seems an outside bet. That leaves The Substance director Coralie Fargeat, who is just the ninth female directing nominee in history – and looks like a long shot to win due to her body-horror film being arguably the most confrontational on the ballot. Sponsored by Vue Save up to 30% on the latest releases at Vue in 2025 Are you a movie lover who always wants to be up to date with the latest releases? Then you're in luck, as RadioTimes.com readers can enjoy new films at Vue Cinemas for less. Customers will receive up to 30% off films with Vue Pass, as long as they have a RadioTimes.com account. It's a great time for new releases, with films such as Wicked, Nosferatu, The Brutalist and Moana 2 taking UK cinemas by storm. Head to your nearest Vue to catch these movies and more for up to 30% less if you're signed up as a RadioTimes.com member. Save up to 30% with Vue Pass Naturally, there are controversial snubs too, with Dune's Denis Villeneuve and Conclave's Edward Berger among the most conspicuous absentees, but it's doubtful either would be in serious contention had they been nominated. Fundamentally, The Brutalist’s Corbet and Anora’s Baker have triumphed at the so-called “precursor” awards. The former has a Venice Film Festival directing gong, plus a Golden Globe and BAFTA to his name, while the latter has a Cannes Film Festival Palme d’Or and hit a winning streak recently at awards for the directors, writers and producers guilds. In particular, the directors guild is significant, as nine of the last ten winners there have gone on to win the Oscar for directing. Quite how much that will tip the scales in favour of Baker will depend on individual voter taste. Will Anora prove too bawdy and hectic or The Brutalist simply too long and bleak? Ultimately, though, the best director Oscar tends to go to two types of film-maker: the one whose film also wins Best Picture (like Christopher Nolan for Oppenheimer, Bong Joon-Ho for Parasite, Chloé Zhao for Nomadland), or the one whose film is critically acclaimed and admired for its craft – but not popular enough to win Best Picture (think Jane Campion for The Power of the Dog or Alfonso Cuarón for Roma). With less than two weeks to go, Corbet and Baker can easily fit those bills. But whatever happens, it’s a more compelling contest than when Christopher Nolan essentially had his name engraved on the statuette since before Christmas last year. View Green Video on the source website The Academy Awards will take place on Sunday 2nd March. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more from the biggest stars in TV, listen to The Radio Times Podcast.
Oscar predictions 2025: Who will win and should win Best Supporting Actress?
Zoe Saldaña and Ariana Grande are two contenders in a field dominated by first-time nominees, but are they guilty of 'category fraud'?
Only one of this year’s best supporting actress nominees has received a prior nomination, leaving four newbies to the nominee merry-go-round that will end when the coveted statuette is awarded this Sunday. And just like Kieran Culkin in the supporting actor category, it looks like there will be only one winner here, too. Flying the flag for Britain is Felicity Jones, who was previously nominated as best actress for playing the wife of Eddie Redmayne’s Stephen Hawking in Oscar winner The Theory of Everything (2014). In The Brutalist, she plays wife to another creative genius, the tormented architect and Holocaust survivor László Tóth (Adrien Brody). Like her husband, Erzsébet was sent to a concentration camp and survived, albeit with ailing health, but is unable to join him in America until years after the War. Indeed, her first appearance is halfway through in the film, and yet she is the beating heart of the 215-minute epic. All the other actresses shortlisted are first-timers, although it is hard to believe in the case of Isabella Rossellini ̶ the daughter of screen icon Ingrid Bergman (herself a three-time winner for Gaslight (1944), Anastasia (1956) and the 1974 version of Murder on the Orient Express) ̶ whose nearly 50-year career includes terrific turns in Blue Velvet (1986) and Beethoven biopic Immortal Beloved (1994). Her role in papal political thriller Conclave is as a housekeeping nun whose observations could change the outcome of the election of a new pope – and at under eight minutes, it may be brief, but it is a scene-stealing gem, nevertheless. Sponsored by Vue Save up to 30% on the latest releases at Vue in 2025 Are you a movie lover who always wants to be up to date with the latest releases? Then you're in luck, as RadioTimes.com readers can enjoy new films at Vue Cinemas for less. Customers will receive up to 30% off films with Vue Pass, as long as they have a RadioTimes.com account. It's a great time for new releases, with films such as Wicked, Nosferatu, The Brutalist and Moana 2 taking UK cinemas by storm. Head to your nearest Vue to catch these movies and more for up to 30% less if you're signed up as a RadioTimes.com member. Save up to 30% with Vue Pass Of the five actresses nominated, Monica Barbaro is probably the rogue selection. One of Tom Cruise’s pilot protégés in Top Gun: Maverick, the 34-year-old plays Joan Baez to Timothée Chalamet’s Bob Dylan in A Complete Unknown. Maybe it’s Academy members’ love of a real-life musical icon being brought to cinematic life that swung the vote, although the likes of Danielle Deadwyler (The Piano Lesson), Selena Gomez (Emilia Pérez) and Margaret Qualley (Demi Moore’s 'other half' in The Substance) may have had hopes of Oscar recognition. As for any controversy, the two remaining nominees have both generated similar rumblings on social media and in the press for alleged "category fraud", as some say their roles are co-starring rather than supporting. Singing sensation Ariana Grande has received her first Oscar nomination for playing Galinda Upland (and future Glinda the Good) in the sumptuous adaptation of Broadway hit Wicked, the Wizard of Oz prequel that chronicles her friendship with Cynthia Erivo’s Elphaba before her transformation into the Wicked Witch of the West. The criticism seems a trifle unfair on Grande in her first big screen role, but for the outstanding favourite Zoe Saldaña, who is on-screen in Emilia Pérez more than best actress nominee Karla Sofia Gascón (who has generated her own unwanted controversy), there is more validity to the grumbles, especially since Saldaña's battling attorney is the driving force of Jacques Audiard’s genre-defying crime film. Not that it has stopped Saldaña's committed performance from scooping up the Golden Globe, the BAFTA and the weekend’s Screen Actors Guild Award, making her the hottest favourite of the year. View Green Video on the source website The Academy Awards will take place on Sunday 2nd March. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more from the biggest stars in TV, listen to The Radio Times Podcast.
Oscar predictions 2025: Who will win and should win Best Supporting Actor?
After winning numerous prizes for Succession, Kieran Culkin looks set to continue his film awards season streak for A Real Pain.
Unlike some of this year’s major Academy Award categories, the hot favourite for the best supporting actor Oscar has been the frontrunner since December last year, when Kieran Culkin's puckish performance in buddy road movie A Real Pain garnered prize-winning attention from the critics' circles. As the mercurial slacker to Jesse Eisenberg’s more down-to-earth cousin, Culkin has a ball with his co-star’s sardonic yet sobering Oscar-nominated script that takes the chalk-and-cheese duo on an illuminating trip to Poland, the birthplace of their recently passed Jewish grandmother. Winner of a Golden Globe and a BAFTA, the coronation of the first-time nominee looks assured. But what of the competition? The likes of Jonathan Bailey (Wicked), Clarence Maclin (Sing Sing) and two-time winner Denzel Washington (Gladiator II) did show up in other lists, but not when it came to the Oscar nominations, leaving a quartet of three other first-time nominees and a relative veteran in Edward Norton earning his fourth. Norton was previously nominated as best supporting actor for Primal Fear (1997) and Birdman (2015), and best actor for American History X (1999). This year, the 55-year-old actor has been shortlisted for playing Pete Seeger in the music biopic A Complete Unknown, in which the folk pioneer witnesses Timothée Chalamet’s young Bob Dylan embarking on a journey from folk-music sensation in 1961 to almost pariah status for going electric in 1965. Norton is possibly second favourite. Sponsored by Vue Save up to 30% on the latest releases at Vue in 2025 Are you a movie lover who always wants to be up to date with the latest releases? Then you're in luck, as RadioTimes.com readers can enjoy new films at Vue Cinemas for less. Customers will receive up to 30% off films with Vue Pass, as long as they have a RadioTimes.com account. It's a great time for new releases, with films such as Wicked, Nosferatu, The Brutalist and Moana 2 taking UK cinemas by storm. Head to your nearest Vue to catch these movies and more for up to 30% less if you're signed up as a RadioTimes.com member. Save up to 30% with Vue Pass Guy Pearce’s first nomination is for The Brutalist and his pivotal role as Harrison Lee Van Buren, the enigmatic and monied industrialist whose offer of the American Dream to Adrien Brody’s Hungarian Holocaust survivor and visionary architect masks a darker reality. It is probably the Aussie star’s best work since Memento in 2000. A first-timer, too, is Kieran Culkin’s Succession co-star Jeremy Strong, going deep in The Apprentice to play fearsome lawyer and political fixer Roy Cohn, whose mentoring of a young real-estate tycoon called Donald Trump in the 1970s and '80s arguably made him the man he is today. And then, finally, Yura Borisov receives a nominee nod for offbeat Cinderella tale Anora, in which the Russian actor plays the henchman/minder to the son of a Russian oligarch who falls for and then marries Mikey Madison’s Brooklyn stripper. Much of the controversy surrounding the Oscars this year involves Emilia Pérez, but if there is any related to Culkin’s inexorable march to victory, it is over so-called "category fraud" – when what is arguably a leading role is mooted "For Your Consideration" by the studio in the supporting category, therefore giving it a better chance of copping an Oscar. You can understand why, with Culkin on screen as much as co-star Eisenberg. A similar criticism has also been made about Zoe Saldaña (another odds-on favourite to win) in Emilia Pérez and Ariana Grande for Wicked. Nevertheless, that is not likely to prevent the first member of the Culkin family from striking Oscar gold on 2nd March. View Green Video on the source website The Academy Awards will take place on Sunday 2nd March. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more from the biggest stars in TV, listen to The Radio Times Podcast.
Oscar predictions 2025: Who will win and should win Best Actress?
It looks like it's Moore vs Madison for the golden statuette.
The race for Best Actress is undoubtedly the most controversial category in this year’s Oscars cycle. From the absence of intimacy coordinators to resurfaced problematic tweets, there has been more than enough drama to go around. But as the Academy prepares for the biggest night in film, who will walk away victorious? At the moment, Demi Moore seems to be the frontrunner. At 62 years old, Moore has defied critics who scrutinised her body, marriage and career with her electrifying, genre-defying, socially relevant performance in The Substance. Having already taken home the Golden Globe and delivered an emotional speech on Hollywood’s dismissal of her in the 1990s, a win for Moore would not only be an apology from the industry, but also an overdue victory for the horror genre and a female-directed film, both of which have long been swept under the rug by the Academy. Moore certainly faces some stiff competition, though, and none of her opponents are more formidable than fresh-faced Mikey Madison, who captivated audiences with her role as Ani in Sean Baker’s comedy-drama Anora. Then there's industry veteran Fernanda Torres, who plays a grieving wife dealing with the forced disappearance of her congressman husband in Brazilian political biography I’m Still Here. Sponsored by Vue Save up to 30% on the latest releases at Vue in 2025 Are you a movie lover who always wants to be up to date with the latest releases? Then you're in luck, as RadioTimes.com readers can enjoy new films at Vue Cinemas for less. Customers will receive up to 30% off films with Vue Pass, as long as they have a RadioTimes.com account. It's a great time for new releases, with films such as Wicked, Nosferatu, The Brutalist and Moana 2 taking UK cinemas by storm. Head to your nearest Vue to catch these movies and more for up to 30% less if you're signed up as a RadioTimes.com member. Save up to 30% with Vue Pass At only 25 years old, Madison has had a breakthrough role with Anora, and her performance is undoubtedly the best of her career thus far – as evidenced by the multiple awards she has received across this award season (including a Critics Choice and a BAFTA). As Ani, Madison is electric and screen-stealing, providing a performance that was almost certainly the reason behind Anora’s Palme d’Or win at the Cannes Film Festival. Despite this, the film has been met with debate regarding the presence of intimacy coordinators, especially after Madison admitted to declining one when offered the chance by Baker, with some suggesting than an intimacy coordinator should be a protective requirement for actors and not just a question from a director. The most traditional nominee in the race, Fernanda Torres's performance in I’m Still Here is poignant and powerful, and has been praised for its depth. Torres’s nomination is already a historic feat – she is only the second Brazilian woman, after her own mother, to be nominated for the category in question – but her presence is not without its own looming controversy, with Torres forced to apologise shortly after the film’s release when footage resurfaced of her performing a comedy sketch in blackface years ago. But the competition doesn’t just stop there. Karla Sofia Gascón also stands in the Best Actress storm for her hugely divisive role in Netflix’s comedy-slash-musical-slash-serious-crime-flick Emilia Pérez. After a large-scale social media controversy involving the resurfacing of problematic tweets, though, Gascón’s prospects have been largely diminished, even though if she were to win, she would make history as the first openly transgender woman to receive the award. Rounding off the roster is Cynthia Erivo, nominated for her portrayal of Elphaba in Wicked. Already an icon to musical fans, Erivo had huge boots, and even bigger lungs, to fill taking on Elphaba – a role originated by 'Queen of Broadway' Idina Menzel in the original's stage production – but her performance was received warmly by critics, who praised her heartfelt characterisation and vocal mastery. Although for the moment, Erivo seems to have fallen underneath the rubble of her fellow nominees, Wicked: For Good is set to be released later this year, meaning Erivo’s golden statuette chances may not be completely lost. View Green Video on the source website The Academy Awards will take place on Sunday 2nd March. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more from the biggest stars in TV, listen to The Radio Times Podcast.
Oscar predictions 2025: Who will win and should win Best Actor?
Despite buzz for Timothée Chalamet's Bob Dylan, Adrien Brody appears a safe bet to snag his second Best Actor prize.
It’s been more than 20 years since Adrien Brody became the youngest man to win a Best Actor Oscar for his memorably harrowing performance in The Pianist, a record which still stands to this day. And barring any major upsets, Brody now looks all but certain to add a second golden statuette to his collection at this year’s ceremony, for his monumental leading role in Brady Corbet’s epic drama The Brutalist. In László Tóth, Brody is responsible for bringing to life one of the most compelling big-screen characters of the last decade, a role that offered him the opportunity to express the full gamut of human emotions across the film’s three-and-a-half hour runtime. Whether the architect is experiencing the brief euphoria of family reunion, suffering the throes of heroin addiction or portraying the tortured psyche of a man battling deep-rooted trauma and a rigged system, Brody is always convincing and magnetic in the role. Despite a somewhat over-egged kerfuffle around the use of an AI post-production tool to correct his Hungarian accent in a tiny handful of scenes, he has consistently appeared as the clear frontrunner for pretty much the entire awards season, having won the top prize at virtually every precursor event, including the recent BAFTAs. Sponsored by Vue Save up to 30% on the latest releases at Vue in 2025 Are you a movie lover who always wants to be up to date with the latest releases? Then you're in luck, as RadioTimes.com readers can enjoy new films at Vue Cinemas for less. Customers will receive up to 30% off films with Vue Pass, as long as they have a RadioTimes.com account. It's a great time for new releases, with films such as Wicked, Nosferatu, The Brutalist and Moana 2 taking UK cinemas by storm. Head to your nearest Vue to catch these movies and more for up to 30% less if you're signed up as a RadioTimes.com member. Save up to 30% with Vue Pass Interestingly, his closest competition appears to come from a man who would unseat him as the youngest ever winner: Timothée Chalamet. The 29-year-old actor’s performance as Bob Dylan in A Complete Unknown is certainly impressive – at his best he completely transforms himself into the folk singer-songwriter – and this kind of pitch-perfect impersonation of a well-known real-life figure is just the type the Academy has been known to honour in the past, while his win at the SAG Awards puts him firmly back in the race. As for the other contenders, it’s an interesting mix of performances. Sebastian Stan’s turn as Donald Trump is another that falls into the "skillful impersonation of a public figure" camp, but it’s a far more subtle interpretation than many of the actors who have previously tried their hand at the US president. Still, most people who have seen his performance in the brilliant A Different Man would agree that Stan has actually been nominated for the wrong film. But that's splitting hairs. Meanwhile, the always charismatic Colman Domingo – nominated for Best Actor for the second consecutive year – and the reliably captivating Ralph Fiennes both turn in fine performances in Sing Sing and Conclave respectively, but neither appear to have built enough support to pose a serious threat to Brody. Then, on the fringes of the picture, are snubs: the most startling omission from the list is undoubtedly Daniel Craig. The former James Bond star’s lead turn in Luca Guadagnino’s Queer is the finest dramatic work of his career, and exactly the kind of against-type role you’d have expected the Academy to lap up. Still, even if he had been nominated it would have been hard to argue a case for him over Brody – and The Brutalist star looks like being a very deserving winner indeed. View Green Video on the source website The Academy Awards will take place on Sunday 2nd March. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more from the biggest stars in TV, listen to The Radio Times Podcast.
Conclave's BAFTA win puts it back in Oscar contention – but here's why it's still an outside bet
The papal thriller took top honours at last night's BAFTA Film Awards.
Whatever your views on the merits of each of the films in consideration, it can’t be denied that it’s been a funny old awards season. From hotly contested races in some of the big categories to major controversies regarding individual nominees, the campaign trail has been full of surprises – particularly when we look back on last year’s race, when a string of victories for Oppenheimer always felt like something of a foregone conclusion. The odds for the all important Best Picture trophy at the upcoming Oscars have been especially prone to fluctuation, and indeed several of the big Hollywood trade magazines have switched their chosen frontrunner almost too many times to count. Recently, it appeared as if Sean Baker’s Anora might have emerged as the consensus pick following a glut of key precursor wins, but it looks like yet another spanner could have been thrown in the works following Conclave’s Best Film win at last night’s BAFTA Film Awards. Sponsored by Vue Save up to 30% on the latest releases at Vue in 2025 Are you a movie lover who always wants to be up to date with the latest releases? Then you're in luck, as RadioTimes.com readers can enjoy new films at Vue Cinemas for less. Customers will receive up to 30% off films with Vue Pass, as long as they have a RadioTimes.com account. It's a great time for new releases, with films such as Wicked, Nosferatu, The Brutalist and Moana 2 taking UK cinemas by storm. Head to your nearest Vue to catch these movies and more for up to 30% less if you're signed up as a RadioTimes.com member. Save up to 30% with Vue Pass Or has it? In truth, although Conclave’s win certainly pushes it back into the conversation as far as the Best Picture race is concerned, this seems more likely to be one of the increasingly common years where BAFTA and the Academy opt for different winners. Indeed, although the BAFTAs can often feel like something of a dress rehearsal for the Oscars when it comes to the acting categories, the winners of the top prize at the two ceremonies have diverged on eight of the previous 10 years – so looking at the BAFTA winner is not an especially reliable method of predicting Best Picture. It’s also worth noting that Conclave always looked like being a more popular pick with BAFTA voters, with the film having led the way on 12 nominations going into the ceremony, compared to just eight at the Oscars. Meanwhile, BAFTA has previous for giving the top prize to a film made by director Edward Berger, with his adaptation of All Quiet on the Western Front having won two years ago only for Everything Everywhere All at Once to triumph at the Oscars. Read more: BAFTA Film Awards winners 2025: Full list as Conclave and The Brutalist win big Industry and Alien: Romulus star David Jonsson wins BAFTA Rising Star Award We’d therefore hazard an (educated) guess that the aforementioned Anora is still the film to beat when it comes to Oscars night, with its wins at the WGA, PGA and DGA awards having made it the obvious pick. We’d also remain relatively bullish about the chances of Brady Corbet’s mesmerising epic The Brutalist – which won in the Best Motion Picture, Drama category at the Golden Globes – although admittedly it seems to be something of an outside bet now. One area where we perhaps could look at the BAFTA results as an indication for the Oscars is in the Best Actress category – which remains the only major acting race that isn’t all but sewn up (Adrien Brody, Zoe Saldaña and Kieran Culkin are all pretty much locks at this point). Given recent results, Mikey Madison’s win last night for her superb central turn in Anora can go down as something of a surprise, and suggests that the race between her and The Substance star Demi Moore – who won at the Golden Globes – is one that will go right down to the wire. But Conclave still seems unlikely to claim the golden statuette next month, a point underlined by the fact that Berger didn't even make the nomination list for Best Director. As for whether it was deserving of the top prize last night, on the whole it strikes me a a fairly safe – dare I say uninspiring – pick. The film certainly has its pleasures, not least the excellent leading turn from Ralph Fiennes, but I'm not sure there's anything here to really set it apart as truly exceptional, especially when compared to some of the more artistically daring films in the pack. It's an accomplished, solid piece of old-school entertainment – just hardly one that seems deserving of best-of-the-year status. I'll be hoping for a different winner at the Oscars. The EE BAFTA Film Awards took place on Sunday 16th February 2025 and the Oscars will take place on Sunday 2nd March 2024. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more from the biggest stars in TV, listen to The Radio Times Podcast.
The Oscars have rightly acknowledged the most audacious film of the year
One of the words that has most frequently been used to describe Jacques Audiard's Emilia Pérez – which has just become the most nominated film at this year's Oscars with an impressive 13 nods – is 'audacious'. Those that love the film have praised it for reinventing what's possible in cinema, for deftly blending together such diverse genres as gritty cartel crime flick, camp musical melodrama, and socially conscious transgender drama into something quite unlike anything that's played on the big screen before. But while it can't be denied that this is, admittedly, a unique combination, the film also has one pretty major problem: it's a complete mess. Indeed, for all the praise that has been lavished upon Emilia Pérez by awards voters and various critics, there are many – this writer included – who found it a bizarre misfire, a film so dramatically inert and tonally all over the shop that the plaudits have been completely baffling. But there is one film in this year's Best Picture line-up – a surprising but thrilling inclusion – for which the word audacious can be applied with none of those caveats. That film is Nickel Boys, the fiction debut of filmmaker RaMell Ross, which is adapted from Colson Whitehead's superb Pulitzer Prize-winning novel and tells the story of Elwood Curtis (Ethan Herisse), an African-American teenager who is wrongly implicated in a car theft and sent to a racially segregated reform school in Jim Crow-era Florida. Download the Radio Times app for more Oscars 2025 coverage – including interviews with the stars and exclusive features. While there, he strikes up a bond with a quietly rebellious student named Turner (Brandon Wilson) and tries desperately to search for hope and salvation against a backdrop of unbearable brutality, meted out both by fellow students and the school's deeply racist staff. A truly original work of heart-wrenching emotional power, what makes the film so remarkable is the highly experimental point-of-view shooting approach adopted by Ross for the entirety of its runtime. Throughout the film, we follow events from the visual perspective of its two lead characters, ingeniously taking the idea of cinema as an empathy machine to its most extreme capabilities. This unique shooting style takes some adjusting to, but it quickly draws the viewer under its spell and creates a tactile and profoundly immersive experience, one punctuated by both fleeting moments of lyrical beauty and some deeply harrowing scenes. Meanwhile, Ross also adds several impressionistic flourishes and makes innovative use of archival footage and well-placed flash-forwards, leading to an astounding montage in the closing scenes which will leave most audiences awestruck. In truth, the film can probably feel short-changed that it didn't receive many additional nominations in other categories. An adapted screenplay nod for Ross and co-writer Joslyn Barnes is welcome, but it's hard to make sense of how the former could have been passed over for a Best Director nomination in favour of, for example, James Mangold – whose Bob Dylan biopic A Complete Unknown is directed competently but almost entirely conventionally. Cinematographer Jomo Fray also has a right to feel aggrieved about missing out, while it's baffling that Aunjanue Ellis Taylor – whose remarkable performance as Elwood's grandmother in some of the film's most raw, affecting moments is undoubtedly one of the year's best – hardly seemed to get a look in when it came to the conversation around Best Supporting Actress. Still, the fact that such an experimental and bold film has been nominated at all is cause for celebration, and a further sign that the Academy has gone some way to removing the staid, unadventurous reputation it's been trying for some years to shed. (Similarly, the idea of a twisted, unapologetically gruesome body horror like Coralie Fargeat's magnificent The Substance making it into the Best Picture category would have been almost unthinkable just a few years ago). What's especially impressive about Nickel Boys' success is how it managed to make the list in spite of what has amounted to a relatively muted awards campaign – especially when compared to many of its big-hitter competitors – and a rather botched release strategy that has seen it flounder at the box office. With that in mind, hopefully its nomination will encourage cinema-goers around the world to seek out a film that has, so far, been criminally under seen, but has clearly immensely moved the vast majority of those who have been lucky enough to watch it. Speaking exclusively to RadioTimes.com at the London Film Festival back in October 2024, Ross outlined just a couple of responses he'd seen to the film which he said "hit at the core of [it's] power". "One woman said that the film is – this is a trigger warning, it's pretty, pretty heavy – is a black woman's nightmare," he explained. "Which was really kind of moving to hear and have her sort of talk through her relationship between loving her sons and fearing when they go outside. View oEmbed on the source website "And then I also had, on the opposite end of the spectrum, a white man say, 'I've never known what it felt like to walk in a black man's shoes, or to look from a black man's perspective', and he's like weeping. "And there are a couple of other heavy conversations, but [they] haven't been as succinct as those lines. But how beautiful and fascinating and I guess, interesting." Whatever your specific individual response, Nickel Boys is clearly exactly the type of film that awards ceremonies like the Oscars should be honouring: original, bold, ambitious and impactful, it's one of the finest films to be nominated in years. Read more: Oscar nominations 2025: Full list of Academy Awards nominees Why the Oscars battle between The Substance and Anora is so ironic Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more from the biggest stars in TV, listen to The Radio Times Podcast.
Ariana Grande sings The Wizard and I in throwback celebrating Oscar nomination
Ariana Grande has received her first ever Oscar nomination for Best Supporting Actress for her role as Galinda 'Glinda' Upland in Jon M Chu's Wicked, and has celebrated with an epic throwback. Responding to the nominations, the singer posted a carousel of images from her childhood and beyond, including one of her dressed as Dorothy, a promotional picture of her as Glinda along with a picture of her and co-star Cynthia Erivo and a video of teenage her singing The Wizard and I. She captioned the post: "Picking my head up in between sobs to say thank so much to The Academy for this unfathomable recognition. I cannot stop crying, to no one's surprise. "I'm humbled and deeply honoured to be in such brilliant company and sharing this with tiny Ari who sat and studied Judy Garland singing Somewhere Over the Rainbow just before the big, beautiful bubble entered. "I'm so proud of you tiny. Thank you again, from the bottom of my heart, for this acknowledgment The Academy." She went on to thank Jon M Chu for taking a chance on her, as well as Cynthia Erivo. "I don't quite have all my words yet, I'm still trying to breathe," she rounded off the post. "But thank you. Oh my goodness, thank you. Universal, Marc, my family, my heart." Read more: BAFTA Film Awards nominations 2025: Full list of nominees confirmed How to watch the Oscars 2025 in the UK? Everything you need to know ahead of the ceremony Wicked received a total of 10 nominations, including for Performance by an Actress in a Leading Role for Cynthia Erivo and the coveted Best Picture. The other seven nominations include Best Costume Design, Best Make-up and Hairstyling, Original Score, Production Design, Film Editing, Achievement in Sound and Visual Effects. The first part of Wicked was released late last year and is to be followed up with For Good in November of this year, telling the latter half of the story of the witches of Oz. Following its cinematic release, the movie broke multiple records in its opening weekend, including the biggest global and domestic opening for a movie based on a Broadway show, beating the worldwide opening of Les Misérables. The Oscars will take place on Sunday 2nd March - watch this space! Download the Radio Times app for more Oscars 2025 coverage – including interviews with the stars and exclusive features. Wicked: For Good is scheduled for release on 21st November 2025. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more from the biggest stars in TV, listen to The Radio Times Podcast.