And as every year.. / 2025 Oscars

Between expected triumphs and surprising disappointments, the Oscars night once again proved to be a stage where cinema celebrates itself, but also a battleground where merit, politics and unpredictability collide. This year’s edition was no exception, delivering moments of exhilaration, controversial choices, and a few omissions that will spark debate for a long time.

The most important night of the year in American cinema—and the most watched worldwide—has come to an end. As always, after an intense season of screenings and speculation, the ceremony unfolded like a marathon, stirring a mix of emotions with each award announcement.

The statuettes awarded were more than well-deserved: to the tormented architect Adrien Brody in The Brutalist, to the chameleonic cousin Kieran Culkin in A Real Pain, to the tenacious lawyer Zoe Saldana in Emilia Perez, to the visionary screenplay of Peter Straughan for Conclave, to the touching Brazilian film I’m Still Here, to the enchanting production design of Nathan Crowley and Lee Sandales for Wicked, to the fabulous costumes by Paul Tazewell, again for Wicked, to the chilling makeup by Pierre-Olivier Persin, Stephanie Guillon, and Marilyne Scarselli for The Substance, to the colossal visual effects of Paul Lambert, Stephen James, Rhys Salcombe, and Gerd Nefzer for Dune: Part Two, to the primal sound design of Gareth John, Richard King, Ron Bartlett, and Doug Hemphill, once again for Dune: Part Two, and to the majestic score composed by Daniel Blumberg for The Brutalist.

Dune, directed by Denis Villeneuve

The Brutalist, directed by Brady Corbet

And yet, one must also look at the other side of the coin—the one forged by shattered expectations, unjust defeats, and, above all, by the statuettes that were not grasped by those truly worthy of such prestige. I am referring to the magnetic performance of Demi Moore in The Substance, which marked a triumphant comeback in her career, or to the mesmerizing interpretation of Fernanda Torres in I’m Still Here, which shed light on a dark chapter in Brazil’s political history. I am speaking of the monumental screenplay and the masterful direction of Brady Corbet for The Brutalist, a film that has defined his entire life. And again, of Greig Fraser’s impeccable cinematography for Dune: Part Two, where every frame is a visual blessing, or of Jarin Blaschke’s shadowy cinematography for Nosferatu, whose composition evokes the romanticism of 19th-century paintings. Moreover, I cannot overlook the meticulous editing of Nick Emerson for Conclave, which exudes an intense tension during one of the most delicate moments in ecclesiastical life.

Conclave, directed by Edward Berger

I’m Still Here, directed by Walter Salle

A Real Pain, directed by Jesse Eisenberg

Emilia Perez, directed by Jacques Audiard

Finally, the moment arrived to reveal which film would be crowned the best of the season. This year, more than ever, the Academy’s selections left behind several glaring omissions, including Maria by Pablo Larraín, Challengers by Luca Guadagnino, Civil War by Alex Garland, Megalopolis by Francis Ford Coppola, along with numerous other deserving films, directors, actors, cinematographers, production designers, costume designers, makeup artists, and composers. In this context, the victory of Anora as Film of the Year came as little surprise. Yet, that does not erase the thought of what it would have meant to hear Meg Ryan and Billy Crystal announce The Brutalist, I’m Still Here, The Substance, or Emilia Perez. Each of these four films, despite their imperfections, provoked a deeper emotional and intellectual response—each in its own way—far more than Sean Baker’s work ever managed to do (with the exception of its suffocating final scene, which distills its very essence).

Among this cherished quartet, The Brutalist stood out for its profound disillusionment with human values, tested by the relentless machinery of American capitalism; I’m Still Here emerged as an anthem to resilience, celebrating an indomitable spirit that perseveres despite adversity; The Substance explored the eternal conflict between authenticity and the aspirations that drive individuals toward an unattainable ideal; and finally, Emilia Perez confronted a Kantian clash between morality and immorality, inviting a deeply philosophical reflection.

And as with every year, anticipation builds for what the next season will bring. The same anticipation fueled by an enduring love for cinema.

Nosferatu, directed by Robert Eggers

The Substance, directed by Coralie Fargeat