T
he 2025 awards season will conclude on Sunday night with the 97th Academy Awards. Defined by blockbuster hits like “Dune: Part Two” and “Wicked,” and subtler independent films like “Anora” and “Nickel Boys,” 2024 offered a tremendous range of hits in nearly every genre, including “The Substance,” a rare horror nominee in the Best Picture category.
Ahead of the 2025 Oscars ceremony, The Daily Orange’s screen columnists have put together predictions for the night’s biggest awards, as well as some movies we think were overlooked by the Academy. Check out our predictions below.
Best Picture Rankings
#10: “The Substance”
Directed by: Coralie Fargeat
Starring: Demi Moore, Margaret Qualley
As a bizarre, grotesque satire — reminiscent of a David Cronenberg adaptation of Oscar Wilde’s “Picture of Dorian Gray” — that’s cross-bred with feminist subtext, it isn’t a surprise that “The Substance” will do poorly in the Best Picture category. It suffers from being too obvious and heavy handed in its exposure of Hollywood superficiality. It doesn’t play the Best Picture game. But Demi Moore and Margaret Qualley’s performances deserve recognition, as does director Coralie Fargeat’s incredible command of special and practical effects and creative screenplay. In a less competitive year, maybe “The Substance” wins out, but this year? Maybe it didn’t “respect the balance.” — Ben Butler, culture editor
#9: ‘Wicked”
Directed by: Jon M. Chu
Starring: Cynthia Erivo, Ariana Grande, Jonathan Bailey
Despite a lackluster awards performance, “Wicked” has kept itself afloat through internet virality and a devoted fanbase. Jon M. Chu’s faithful adaptation of the Broadway sensation relies entirely on its predecessor’s success, bolstered by Cynthia Erivo and Ariana Grande as its stars. Erivo is undeniable as the fated Wicked Witch of the West, and Grande manages to lean into her musical theater roots as Glinda. Though the pair is sincerely charming, the film is weighed down by its lengthy runtime and saccharine visuals. Having lost all steam in the Best Picture race, as well as the acting categories, “Wicked” can bet on success below the line. — Lucía Santoro-Vélez, presentation director
#8: “Nickel Boys”
Directed by: RaMell Ross
Starring: Ethan Herisse, Brandon Wilson
To call RaMell Ross’s debut feature film a revolutionary cinematic masterwork might be selling it short. “Nickel Boys,” the adaption of Colson Whitehead’s 2019 novel, builds cinematic language and becomes a searing portrait of an America we are still trying to reckon with. Ross finds beauty in the ordinary and gives audiences a chance to see new perspectives, both literal and figurative. Combine revelatory cinematography with lived-in performances from Ethan Herisse and Brandon Wilson, and you get a film that, while it won’t win Best Picture, will remain in the American cinematic subconscious for decades. — Henry O’Brien, senior staff writer
#7: “Dune: Part Two”
Directed by: Denis Villeneuve
Starring: Timothée Chalamet, Zendaya, Austin Butler
If the Oscars awarded the film with the best filmmaking, critical acclaim and box office success, “Dune: Part Two” would win Best Picture. But this isn’t the case. The film will be snubbed. The second part of Denis Villeneuve’s adaptation of Frank Herbert’s science fiction masterpiece uses beautiful visuals of Arrakis and Giedi Prime, as well as captivating performances from its cast. It’s a real shame one of the best films of 2024 doesn’t look like it will get the proper recognition it deserves. — Nate Lechner, senior staff writer
#6: “I’m Still Here”
Directed by: Walter Salles
Starring: Fernanda Torres, Fernanda Montenegro
“I’m Still Here” portrays how fascism abuses its citizens and tears away their souls. Based on the 2015 biography of the same name, the film stars Fernanda Torres as Brazilian activist Eunice Paiva, whose dissident husband is the victim of forced disappearance under a military dictatorship. She copes with this tragedy but still shows the power of dissent. Torres gave a titanic performance, earning herself a Golden Globe. With the total collapse of “Emilia Pérez’s” award chances, “I’m Still Here” might sneak out with Best International Feature Film, but Best Picture seems far-fetched since the Academy has only awarded the ultimate prize to a foreign language film once (“Parasite”).
— O’Brien
#5: “Emilia Pérez”
Directed by: Jacques Audiard
Starring: Karla Sofía Gascón, Zoe Saldaña, Selena Gomez
As soon as “Emilia Pérez” was released, it became one of the most polarizing films of the year. The film is a musical centered around a Mexican drug lord who undergoes gender-affirming surgery with the help of a lawyer. The film suffers from many issues, with the most troubling being its poor depictions of the Mexican and transgender communities. Its attempt to stuff different storylines into a two hour runtime resulted in an overall deplorable film.
Since its immense backlash from fans and critics, and old Islamophobic tweets from lead actress Karla Sofía Gascón, “Emilia Pérez” has fallen out of favor to win Best Picture. — Tara Binte Sharil, staff writer
#4: “A Complete Unknown”
Directed by: James Mangold
Starring: Timothée Chalamet, Elle Fanning, Monica Barbaro, Edward Norton
The music biopic has become a staple of the Oscar conversation in the past few years, but none of them have captured the most coveted prize of the season. While “A Complete Unknown” doesn’t appear to have a strong chance of winning Best Picture, it stands out among the music biopic genre. Timothée Chalamet has received critical acclaim for his performance as Bob Dylan, but the ancillary parts of “A Complete Unknown” make it a contender for Best Picture.
Dylan is a universally beloved American figure, so don’t be surprised if Academy voters are swayed to support a story about a pivotal time in his career as an artist. — Lechner
#3: “Conclave”
Directed by: Edward Berger
Starring: Ralph Fiennes, Stanley Tucci, Isabella Rossellini
From start to finish, “Conclave” is one of 2024’s most exciting films. Edward Berger’s adaptation of Robert Harris’s 2016 novel follows a group of Catholic cardinals who must meet and determine who the next Pope will be. As the tension among the cardinals grows and the conclave becomes more competitive, Cardinal Lawrence (Ralph Fiennes) must deal with the consequences. The film is an action-packed mystery that unravels unexpectedly and shows the lengths some men will go to obtain absolute power. Recent wins for the film have it gaining momentum as we head to Oscars Sunday. “Conclave” is the crowd-pleasing, dialogue-heavy film the academy tends to reward. — Lechner
#2: “The Brutalist”
Directed by: Brady Corbet
Starring: Adrien Brody, Guy Pearce, Felicity Jones
From the moment you see the Statue of Liberty upside down, “The Brutalist” shows you it wants to be the “great American film.” It has all the trappings of being a pretentious view of architecture and the immigrant experience. But Brady Corbet’s 202-minute epic becomes so much more than that. With an epilogue that drops in a silly late ‘70s song, “The Brutalist” comes to the unsettling conclusion of how the artist can never be in control of their art. It’s more bone-chilling than any of the other nominees and could very well win the big prize. — O’Brien
#1: “Anora”
Directed by: Sean Baker
Starring: Mikey Madison, Yura Borisov, Mark Eydelshteyn
A heartbreaking romance tale perfectly meshed with comedy, “Anora” has become one of the most quintessential romantic comedies in recent years. Sean Baker’s latest film does everything right, from its powerful plot to outstanding performances. Baker, who is known to feature marginalized individuals like immigrants and sex workers, directed one of his best films yet. Adored by fans and critics alike, Mikey Madison dazzles as Ani, taking the audience on a journey from her hypnotic lifestyle as a stripper to a not-so-happily-ever-after Cinderella tale. While rom-coms have never been in the Academy’s favor, its perfect blend of drama and comedy may prove that “Anora” still has a shot at winning Best Picture. — Binte Sharil
Competitive categories
Madison Denis | Contributing Illustrator & Flynn Ledoux | Illustration Editor
Timothée Chalamet as Bob Dylan in “A Complete Unknown” — Best Actor
The Best Actor award category has become a two-horse race, with neither Adrien Brody for “The Brutalist” nor Timmothée Chalamet for “A Complete Unknown” clearly pulling ahead, despite big wins for both actors in the past. The choice to award a young actor or a Hollywood veteran is a classic Oscar conundrum. Neither would be that much of a surprise, but I predict the Academy will reward the work of “Lil Timmy Tim” on Oscar night. — Lechner
Flynn Ledoux | Illustration Editor
Demi Moore as Elisabeth Sparkle in “The Substance” — Best Actress
Best Actress will be the most competitive category as a back-and-forth between veteran Demi Moore and new-gen Mikey Madison. While Madison displayed an exemplary performance in “Anora,” the Academy usually favors more seasoned actresses, giving Moore an advantage.
With over 40 years of experience, Moore is in a better position of winning, showing off her acting prowess in “The Substance.” While horror movies are often overlooked by the academy, Moore could potentially (and finally) make her mark at the Oscars. — Binte Sharil
Hannah Mesa | Design Editor
Brady Corbet for “The Brutalist” — Best Director
Based on the directing awards at the Golden Globes Director Guild Awards, the winner will either be Sean Baker of “Anora” or Brady Corbet of “The Brutalist.” Both directors have an equal chance of winning, but I suspect the Academy will go with Corbet, who churned out a classic on a compact budget. The win will be an act of directing solidarity on the Oscars’ part. — O’Brien
Hannah Mesa | Design Editor
Kieran Culkin as Benji Kaplan in “A Real Pain” — Best Supporting Actor
Unlike the Best Actor category, the Best Supporting Actor race is as good as done. Kieran Culkin will win this award for his work as Benji Kaplan in “A Real Pain.” But Culkin’s clear path to victory should not diminish the work of other actors who also gave critical performances.
While you could argue that Culkin is more of a co-lead to Jesse Eisenberg’s David Kaplan in the film than a true supporting actor, his performance is equally comical and moving. He’s a worthy winner of the award. — Lechner
Flynn Ledoux | Illustration Editor
Craig Lathrop, Beatrice Brendtnerovà for “Nosferatu” — Production Design
No one usually pays attention to production design, but this is a key category to watch in 2025. Style rules here, and Nosferatu wins. Craig Lathrop, Robert Eggers’ designer of choice, and Beatrice Brendtnerovà perfectly reflected history and horror simultaneously, a hard thing to do. Nosferatu felt harsh, uninviting, cold — the 1920s expressionist classic was brought out from its coffin undead. And that’s all in the environment Lathrop and Brendtnerovà constructed.
— Butler
Grieg Fraser for “Dune: Part Two” — Cinematography
Greig Fraser-heads, rise up. Dune 2 will win Best Cinematography. Though Nosferatu and The Brutalist are good-looking movies, Dune 2 ranges from David Lean-esque Arrakis sandscapes to the black-and-white infrared Giedi Prime. And lest we forget when Paul Atredies’ mother bashes in the skull of a soldier while an eclipse turns the world orange. It’s a brutally stunning movie with impeccable interplay between environment and character — even messiahs are puny against sand dunes and the throngs of believers. — Butler
Overlooked movies
Flynn Ledoux | Illustration Editor
Luca Guadagnino’s “Challengers”
“Wicked” brought theater kids to silverscreens. “Deadpool & Wolverine” rekindled Marvel fans’ love for the “Avengers: Endgame” era. “Challengers” brought everyone into a hot and steamy love triangle. When it comes to portraying complex romantic relationships, Luca Guadagnino is a master.
Fans were split on which character to root for, the actors delivered their best performances, and the high-energy score transcended club playlists. It was a summer blockbuster destined to take the awards season by storm, which was why its complete shutout proved to be the most disappointing outcome of the season. While the Academy will never recognize “Challengers” for its greatness, it will always be remembered as Gen Z’s favorite movie of the summer. — Binte Sharil
Jane Schoenbrun’s “I Saw the TV Glow”
If the films I wanted were in the Best Picture race, Jane Schoenbrun’s profoundly chilling, “Buffy the Vampire Slayer”-esque film would take home the gold. No film better understands the human experience of attaching oneself to a piece of media than “I Saw the TV Glow.” The real magic of Schoenbrun’s film is its depiction of a teen show revealing sides of ourselves that we otherwise would’ve never known. Part-media study, part-trans allegory, “I Saw the TV Glow” provides the complexity, nuance and emotion that the film industry desperately needs.
— O’Brien
Clint Eastwood’s “Juror #2”
At 94 years old, Clint Eastwood managed to direct an impressive courtroom drama that proved to be one of the better films in his directorial career. “Juror #2” follows juror Justin Kemp as he faces an impossible moral dilemma that could either free or convict the wrong killer.
Eastwood masterfully prolongs the tension throughout the film as he unravels the true nature of the crime at different parts, forcing the audience to face every twist and turn Eastwood throws.
While “Juror #2” is a gut-wrenching film bound to leave you sick to your stomach, a courtroom drama of this caliber hasn’t been seen in Hollywood since Sidney Lumet’s 1957 “12 Angry Men.” The Academy’s reasons for not nominating the film for any category is shocking to me; “Juror #2” is one of the most underrated films of 2024. — Binte Sharil
Richard Linklater’s “Hit Man”
Glen Powell is one of the biggest under-40 movie stars in the world, and 2024 may have been his true breakout. He flexed his action-star muscles in “Twisters,” but his work as the lead and screenwriter in “Hit Man” may be the most impressive in his early career.
The film follows a college psychology professor who goes undercover as a hit man to arrest people who want to have others killed. When he falls in love with one of his targets, his worlds collide and everything falls apart.
Powell and Adria Arjona have electric chemistry. Director Richard Linklater knows precisely how and when to turn the energy up a notch to both dramatic and comedic effect. In 2024, I watched “Hit Man” in a theater, at home and on a plane, and I was thrilled by it each time. It is one of 2024’s best and deserves more recognition. — Lechner
Published on February 27, 2025 at 1:50 am
