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.
