Here’s everything you need to know about The Oscars 2025

The tangled web of global politics—Trump, Zelensky, NATO, tariffs, Russia—collides with escalating conflicts in the Middle East and the fractures of a world out of sync while the most dazzling night in entertainment, reality intruded. Nowhere is safe. Los Angeles has burned. The world teeters on the brink and yet, the show must go on.

For decades, the Academy Awards was a cultural event of near-religious significance. We watched the required films, filled out our ballots, wagered on categories, and gathered for Oscar parties. But in today’s fractured, dysfunctional world, do the Oscars still hold relevance? Should they even be happening?

To some, they remain a beacon of art’s enduring power, a defiant act of hope. To others, they are a grotesque monument to vanity, a gilded spectacle playing out against a backdrop of suffering. As the world unravels, do golden statues still matter?

Motion Pictures on Fire

Bill Kramer, CEO of the Academy of Motion Picture Arts and Sciences, acknowledged the tumult of this awards season with an understatement, “There have been some interesting pivots along the way.”

The competition has been fierce, with early frontrunners stumbling due to controversies. The most glaring casualty was Emilia Pérez, Jacques Audiard’s highly anticipated crime-cartel musical. Initially a favourite, its momentum was derailed by resurfaced inflammatory tweets from its star, Karla Sofía Gascón, the first openly transgender performer nominated for Best Actress. Amid the backlash, she was removed from promotional materials, but her presence at the ceremony was defiant, greeted by a mix of applause and residual unease.

Outside the Oscars bubble, the stakes were graver. January’s wildfires destroyed thousands of homes, reigniting debates about whether the ceremony should proceed. “It feels like fiddling while Rome burns,” wrote author Stephen King, and yet, Hollywood, an industry town, thrives on its traditions. Janet Yang, President of the Academy, justifies the decision, “After the fires, people asked, ‘Can we even celebrate something joyous?’ but our members made it clear, ‘We need this.’” The Oscars, then, are not just about glamour but resilience, a show of fortitude amidst devastation.

They Won’t Say His Name?

Political tensions simmer beneath the surface. The film industry leans left, but direct confrontation is muted. While winners acknowledge global crises, Daryl Hannah voicing support for Ukraine, Zoe Saldaña highlighting immigrant struggles, Donald Trump’s name was conspicuously absent from speeches. Adrien Brody, winning Best Actor for The Brutalist, delivered a pointed yet careful plea, “If the past teaches us anything, it’s to not let hate go unchecked.”

The Oval Office Suit Confrontation

Adam Sandler’s dramatic walkout during Conan O’Brien’s opening monologue was more than just a comedic stunt, it was a pointed satire of the recent Oval Office confrontation between Donald Trump, Ukrainian President Volodymyr Zelensky, and Ohio Senator J.D. Vance.

Sandler, known for his laid-back approach to red-carpet fashion, arrived at the 2025 Oscars sporting a blue hoodie and gym shorts. When O’Brien, hosting the ceremony, jokingly scrutinized his outfit, the exchange quickly turned into a staged yet charged moment of faux indignation.

During his monologue, O’Brien remarked that Hollywood’s elite were “properly dressed” for the grand event before turning abruptly to Sandler with a bemused expression.

“Conan, what’s up, my brother? What’s going on, man?” Sandler asked, playing into the moment.

The late-night comedian, feigning exasperation, replied, “Adam, what are you wearing?”

Sandler shot back, “What are you doing right now?” before adding, “Nobody even thought about what I was wearing until you brought it up.”

The exchange mirrored the widely publicized and tension-filled Oval Office meeting between Trump, Zelensky, and Vance, where the Ukrainian president was pressured on his war strategy and America’s financial support. When questioned by Trump and Vance, Zelensky had defended his requests for aid by emphasizing his country’s dire need rather than adhering to political optics. In the same vein, Sandler, embodying an exaggerated version of himself, dismissed concerns about formality, arguing, “I like the way I look because I’m a good person.”

O’Brien, much like Trump and Vance pressing Zelensky on his stance, doubled down on the issue, comparing Sandler’s attire to that of someone gambling at a rundown casino in the middle of the night. The back-and-forth escalated as Sandler stood his ground, proclaiming, “If my snazzy gym shorts and fluffy sweatshirt offend you so much that you had to mock me in front of my peers, I’m going.”

As he dramatically exited, O’Brien scrambled to smooth things over, but Sandler remained resolute, offering an invitation to an impromptu basketball game at Veteran Park. “Midnight tip-off. The guy from Nosferatu—he’s on my team,” he quipped, sealing the moment with the kind of absurdity that defines both Hollywood satire and high-stakes political theater.

The bit not only entertained but also served as a clever parallel to the serious undertones of global diplomacy, where appearances, optics, and power struggles often overshadow substance.

Barnenheimer

The year 2024 was defined by the cinematic juggernaut known as “Barbenheimer.” Barbie, under the masterful direction of Greta Gerwig, was not only a well-crafted film but also a box office phenomenon. Simultaneously, for those seeking a more profound, politically charged, and controversial narrative, Oppenheimer provided an outstanding alternative. Together, these films dominated the industry, shaping the cultural and cinematic landscape of the year. In sharp contrast, the films competing for Best Picture at last night’s Oscars failed to generate a comparable level of impact or excitement.

It felt as though the usual slate of “important” Oscar-worthy films simply weren’t produced this year. This is not to discredit Anora, Conclave, Nickel Boys, The Brutalist, Wicked, Emilia Perez, I’m Still Here, A Complete Uknown, Dune Part 2, and The Substance, but overall, this year’s selection felt somewhat stagnant.

Mikey Madison in Anora

That said, I genuinely enjoyed Anora, with Mikey Madison’s portrayal of a sex worker bringing a sense of fun and whimsy, while her reluctance to end her marriage added an admirable depth to her character. Wicked was an absolute delight on the big screen, the experience enhanced by a packed theatre munching on popcorn, slurping soda, and enthusiastically singing along to the beloved soundtrack, while my wife whispered every connection to The Wizard of Oz in my ear.

The Horror of The Substance

After watching all the nominees, the only film that truly felt fresh, original, and undeniably enjoyable was The Substance, a mixture between early Cronenberg, a touch of Kubrick and maybe even some Hitchcock at times. The fusion of horror and sci-fi, powered by stellar performances from Demi Moore and Margaret Qualley, was nothing short of spectacular. From the visual effects to the editing, hair and makeup, and screenplay, the entire film delivered the kind of thrilling, thought-provoking spectacle one would expect from an Oscar contender.

The Miniseries is the Movie

In my opinion, streaming has robbed the silver screen of much of its former lustre. Films like Anora are hit-or-miss projects, but as indie productions, inconsistency is to be expected. The real issue is that most mainstream box office releases have been reduced to Saturday and Sunday afternoon fare, primarily targeting teenagers with excess free time and disposable income. These audiences crave high-octane action, whether it’s the relentless violence of John Wick, the endless churn of superhero franchises like the Marvel Cinematic Universe, or nostalgic live-action remakes of Disney’s animated classics.

Sure, major, thought-provoking films still get released, but they’re becoming increasingly rare. Instead, streaming services have largely hijacked the mid-budget, $100 million prestige film and transformed it into limited series. As a result, we’re witnessing a shift in which great actors, who once dominated the big screen, are now channeling their talents into television projects.

Consider the calibre of performers who have embraced this trend. Michael Keaton delivered a powerhouse performance in Dopesick, a gripping limited series about the opioid crisis and the devastating impacts of OxyContin. Oscar Isaac and Jessica Chastain brought raw, emotional intensity to Scenes from a Marriage, a modern reimagining of Ingmar Bergman’s classic. Meanwhile, Colin Firth and Toni Collette captivated audiences in The Staircase, a deep dive into one of the most infamous true crime cases. Even Al Pacino, a legend of cinema, took his talents to streaming with Hunters, a thrilling and stylized exploration of Nazi hunters in the 1970s.

This shift begs the question, Is the traditional cinematic experience in decline? Have streaming platforms permanently reshaped the way we consume high-quality storytelling? With fewer ambitious films hitting theaters, and more top-tier talent flocking to television, it seems as though the days of mid-budget, prestige movies dominating the box office may be behind us.

Spot-on with a critique of the Oscars

The show opened with a breathtaking performance of Somewhere Over the Rainbow by Ariana Grande. She delivered every note flawlessly, evoking the spirit of Judy Garland and transporting the audience to a nostalgic era, one seemingly untouched by the chaos of today’s political landscape, where figures like Putin and Trump dominate 24/7 news cycles.

Following this, Grande was joined by Cynthia Erivo, her Wicked co-star, who delivered a powerhouse rendition of a song I wasn’t familiar with but was undeniably beautiful. Together, they then stunned the audience with yet another rendition of Defying Gravity, a performance so spectacular that it felt like a genuine showstopper rather than just another awards ceremony opener.

Yet, despite such a strong start, the night itself failed to maintain that same magic. The ceremony, like much of the film industry this year, felt predictable, safe, and lacking in the kind of cinematic excitement that once made the Oscars must-watch television.

Anora Dominates the 97th Academy Awards in a Historic Night

Anora emerged as the big winner at the 97th Academy Awards on Sunday, taking home five trophies, including Best Picture, Best Director, Best Original Screenplay, Best Editing, and Best Actress. The Sean Baker-directed film, distributed by Neon, led the night with the most wins of any nominee.

Baker made history as the first filmmaker to win four Oscars for a single film, further cementing his reputation as a visionary auteur.

A Night of Historic Firsts

The evening was marked by groundbreaking achievements.The Brutalist star Adrien Brody became the first actor to win Best Actor twice, beating A Complete Unknown’s Timothée Chalamet.

Meanwhile, Paul Tazewell broke barriers as the first Black man to win an Academy Award for Costume Design for his stunning work on Wicked. Diversity and international storytelling shone throughout the ceremony.

Flow became the first Latvian film to claim an Oscar, winning Best Animated Feature. Meanwhile the documentary team for No Other Land descended on the red carpet wearing Palestinian scarves and Kufiya. Their film is set in the occupied West Bank. After the film won, the team took the stage and called out US policy in the region. Kill Bill star Daryl Hannah also veered into politics while on stage. She referenced the war in Ukraine, saying “Slava Ukraini”, the country’s salute, as she presented an award. Unfortunately, despite of the vast number of Jews in attendance no one argued with the accuracy of facts presented by No Other Land. It was shameful to watch.

Saldana Wins Best Supporting Actress

Zoe Saldaña won the Oscar for Best Supporting Actress for her role in “Emilia Pérez.” In her heartfelt acceptance speech, she expressed deep gratitude to her family and heritage. Overcome with emotion, Saldaña began by calling out to her mother, exclaiming, “Mommy! Mommy! Mommy!“, while waving and holding her award. She acknowledged her family’s presence, saying, “My mom is here. My whole family is here.” She thanked the Academy and her fellow nominees, Ariana Grande, Monica Barbaro, Isabella Rossellini, and Felicity Jones for their “love and community” throughout the awards season. Saldaña also expressed gratitude to “Emilia Pérez” director Jacques Audiard and the film’s cast and crew. She dedicated the award to her late grandmother, Argentina Cesse, expressing delight in accepting an award for a film where she sang in Spanish. Saldaña’s win marked an historic moment, as she became the first American of Dominican origin to receive an Academy Award.

Karla Sofía Gascón Attends Oscars Amid Controversy

Emilia Pérez star Karla Sofía Gascón attended amid ongoing controversy over her resurfaced social media posts. The Spanish actress who made history as the first openly transgender nominee for Best Actress, skipped the red carpet but was spotted inside the Dolby Theatre just before the ceremony began.

Dressed in a diamond-studded black gown, Gascón, 52, remained low profile throughout the night. She had previously avoided several major award-season events, including the Oscar nominees’ dinner on February 25, following backlash over past posts criticizing Muslim culture, George Floyd, and diversity efforts. After deactivating her X account, she issued multiple apologies, including an Instagram statement on February 6 in which she expressed regret for “hurting people along the way” and hoped her silence would allow Emilia Pérez to be appreciated on its own merits.

With Emilia Pérez leading the Oscars with 13 nominations, including Best Picture—the film’s presence was undeniable, even as questions lingered about Gascón’s absence from the press circuit.

Visas for Iranians

The month-long struggle to secure U.S. visas ended in triumph for two Iranian filmmakers, who arrived in Los Angeles just in time to win the Academy Award for Best Animated Short Film.

Hossein Molayemi and Shirin Sohani touched down at Los Angeles International Airport only hours before the Oscar ceremony began. With no time to spare, they quickly changed outfits in a public restroom and rushed to the event, arriving moments before their film, In the Shadow of the Cypress, was announced as the winner.

“It’s not our fault we’re so late,” Sohani told BBC News before the show. “We couldn’t get a visa. The relationship between the U.S. and Iran is complicated.”

Molayemi, holding the golden statuette, reflected on their journey in his acceptance speech. “Until yesterday, we didn’t even have our visas, and now we’re standing here with this award in our hands.”

“Speaking in front of such an expectant audience is overwhelming,” he added. “But if we persevere and stay faithful, miracles can happen.”

ACTOR IN A LEADING ROLE

WINNER

ADRIEN BRODY

The Brutalist

NOMINEES

TIMOTHÉE CHALAMET

A Complete Unknown

COLMAN DOMINGO

Sing Sing

RALPH FIENNES

Conclave

SEBASTIAN STAN

The Apprentice

ACTOR IN A SUPPORTING ROLE

WINNER

KIERAN CULKIN

A Real Pain

NOMINEES

YURA BORISOV

Anora

EDWARD NORTON

A Complete Unknown

GUY PEARCE

The Brutalist

JEREMY STRONG

The Apprentice

ACTRESS IN A LEADING ROLE

WINNER

MIKEY MADISON

Anora

NOMINEES

CYNTHIA ERIVO

Wicked

KARLA SOFÍA GASCÓN

Emilia Pérez

DEMI MOORE

The Substance

FERNANDA TORRES

I’m Still Here

ACTRESS IN A SUPPORTING ROLE

WINNER

ZOE SALDAÑA

Emilia Pérez

NOMINEES

MONICA BARBARO

A Complete Unknown

ARIANA GRANDE

Wicked

FELICITY JONES

The Brutalist

ISABELLA ROSSELLINI

Conclave

ANIMATED FEATURE FILM

WINNER

FLOW

Gints Zilbalodis, Matīss Kaža, Ron Dyens and Gregory Zalcman

NOMINEES

INSIDE OUT 2

Kelsey Mann and Mark Nielsen

MEMOIR OF A SNAIL

Adam Elliot and Liz Kearney

WALLACE & GROMIT: VENGEANCE MOST FOWL

Nick Park, Merlin Crossingham and Richard Beek

THE WILD ROBOT

Chris Sanders and Jeff Hermann

ANIMATED SHORT FILM

WINNER

IN THE SHADOW OF THE CYPRESS

Shirin Sohani and Hossein Molayemi

NOMINEES

BEAUTIFUL MEN

Nicolas Keppens and Brecht Van Elslande

MAGIC CANDIES

Daisuke Nishio and Takashi Washio

WANDER TO WONDER

Nina Gantz and Stienette Bosklopper

YUCK!

Loïc Espuche and Juliette Marquet

CINEMATOGRAPHY

WINNER

THE BRUTALIST

Lol Crawley

NOMINEES

DUNE: PART TWO

Greig Fraser

EMILIA PÉREZ

Paul Guilhaume

MARIA

Ed Lachman

NOSFERATU

Jarin Blaschke

COSTUME DESIGN

WINNER

WICKED

Paul Tazewell

NOMINEES

A COMPLETE UNKNOWN

Arianne Phillips

CONCLAVE

Lisy Christl

GLADIATOR II

Janty Yates and Dave Crossman

NOSFERATU

Linda Muir

DIRECTING

WINNER

ANORA

Sean Baker

NOMINEES

THE BRUTALIST

Brady Corbet

A COMPLETE UNKNOWN

James Mangold

EMILIA PÉREZ

Jacques Audiard

THE SUBSTANCE

Coralie Fargeat

DOCUMENTARY FEATURE FILM

WINNER

NO OTHER LAND

Basel Adra, Rachel Szor, Hamdan Ballal and Yuval Abraham

NOMINEES

BLACK BOX DIARIES

Shiori Ito, Eric Nyari and Hanna Aqvilin

PORCELAIN WAR

Brendan Bellomo, Slava Leontyev, Aniela Sidorska and Paula DuPre’ Pesmen

SOUNDTRACK TO A COUP D’ETAT

Johan Grimonprez, Daan Milius and Rémi Grellety

SUGARCANE

Julian Brave NoiseCat, Emily Kassie and Kellen Quinn

DOCUMENTARY SHORT FILM

WINNER

THE ONLY GIRL IN THE ORCHESTRA

Molly O’Brien and Lisa Remington

NOMINEES

DEATH BY NUMBERS

Kim A. Snyder and Janique L. Robillard

I AM READY, WARDEN

Smriti Mundhra and Maya Gnyp

INCIDENT

Bill Morrison and Jamie Kalven

INSTRUMENTS OF A BEATING HEART

Ema Ryan Yamazaki and Eric Nyari

FILM EDITING

WINNER

ANORA

Sean Baker

NOMINEES

THE BRUTALIST

David Jancso

CONCLAVE

Nick Emerson

EMILIA PÉREZ

Juliette Welfling

WICKED

Myron Kerstein

INTERNATIONAL FEATURE FILM

WINNER

BRAZIL

I’m Still Here

NOMINEES

DENMARK

The Girl with the Needle

FRANCE

Emilia Pérez

GERMANY

The Seed of the Sacred Fig

LATVIA

Flow

MAKEUP AND HAIRSTYLING

WINNER

THE SUBSTANCE

Pierre-Olivier Persin, Stéphanie Guillon and Marilyne Scarselli

NOMINEES

A DIFFERENT MAN

Mike Marino, David Presto and Crystal Jurado

EMILIA PÉREZ

Julia Floch Carbonel, Emmanuel Janvier and Jean-Christophe Spadaccini

NOSFERATU

David White, Traci Loader and Suzanne Stokes-Munton

WICKED

Frances Hannon, Laura Blount and Sarah Nuth

MUSIC (ORIGINAL SCORE)

WINNER

THE BRUTALIST

Daniel Blumberg

NOMINEES

CONCLAVE

Volker Bertelmann

EMILIA PÉREZ

Clément Ducol and Camille

WICKED

John Powell and Stephen Schwartz

THE WILD ROBOT

Kris Bowers

MUSIC (ORIGINAL SONG)

WINNER

EL MAL

from Emilia Pérez; Music by Clément Ducol and Camille; Lyric by Clément Ducol, Camille and Jacques Audiard

NOMINEES

THE JOURNEY

from The Six Triple Eight; Music and Lyric by Diane Warren

LIKE A BIRD

from Sing Sing; Music and Lyric by Abraham Alexander and Adrian Quesada

MI CAMINO

from Emilia Pérez; Music and Lyric by Camille and Clément Ducol

NEVER TOO LATE

from Elton John: Never Too Late; Music and Lyric by Elton John, Brandi Carlile, Andrew Watt and Bernie Taupin

BEST PICTURE

WINNER

ANORA

Alex Coco, Samantha Quan and Sean Baker, Producers

NOMINEES

THE BRUTALIST

Nick Gordon, Brian Young, Andrew Morrison, D.J. Gugenheim and Brady Corbet, Producers

A COMPLETE UNKNOWN

Fred Berger, James Mangold and Alex Heineman, Producers

CONCLAVE

Tessa Ross, Juliette Howell and Michael A. Jackman, Producers

DUNE: PART TWO

Mary Parent, Cale Boyter, Tanya Lapointe and Denis Villeneuve, Producers

EMILIA PÉREZ

Pascal Caucheteux and Jacques Audiard, Producers

I’M STILL HERE

Maria Carlota Bruno and Rodrigo Teixeira, Producers

NICKEL BOYS

Dede Gardner, Jeremy Kleiner and Joslyn Barnes, Producers

THE SUBSTANCE

Coralie Fargeat and Tim Bevan & Eric Fellner, Producers

WICKED

Marc Platt, Producer

PRODUCTION DESIGN

WINNER

WICKED

Production Design: Nathan Crowley; Set Decoration: Lee Sandales

NOMINEES

THE BRUTALIST

Production Design: Judy Becker; Set Decoration: Patricia Cuccia

CONCLAVE

Production Design: Suzie Davies; Set Decoration: Cynthia Sleiter

DUNE: PART TWO

Production Design: Patrice Vermette; Set Decoration: Shane Vieau

NOSFERATU

Production Design: Craig Lathrop; Set Decoration: Beatrice Brentnerová

LIVE ACTION SHORT FILM

WINNER

I’M NOT A ROBOT

Victoria Warmerdam and Trent

NOMINEES

A LIEN

Sam Cutler-Kreutz and David Cutler-Kreutz

ANUJA

Adam J. Graves and Suchitra Mattai

THE LAST RANGER

Cindy Lee and Darwin Shaw

THE MAN WHO COULD NOT REMAIN SILENT

Nebojša Slijepčević and Danijel Pek

SOUND

WINNER

DUNE: PART TWO

Gareth John, Richard King, Ron Bartlett and Doug Hemphill

NOMINEES

A COMPLETE UNKNOWN

Tod A. Maitland, Donald Sylvester, Ted Caplan, Paul Massey and David Giammarco

EMILIA PÉREZ

Erwan Kerzanet, Aymeric Devoldère, Maxence Dussère, Cyril Holtz and Niels Barletta

WICKED

Simon Hayes, Nancy Nugent Title, Jack Dolman, Andy Nelson and John Marquis

THE WILD ROBOT

Randy Thom, Brian Chumney, Gary A. Rizzo and Leff Lefferts

VISUAL EFFECTS

WINNER

DUNE: PART TWO

Paul Lambert, Stephen James, Rhys Salcombe and Gerd Nefzer

NOMINEES

ALIEN: ROMULUS

Eric Barba, Nelson Sepulveda-Fauser, Daniel Macarin and Shane Mahan

BETTER MAN

Luke Millar, David Clayton, Keith Herft and Peter Stubbs

KINGDOM OF THE PLANET OF THE APES

Erik Winquist, Stephen Unterfranz, Paul Story and Rodney Burke

WICKED

Pablo Helman, Jonathan Fawkner, David Shirk and Paul Corbould

WRITING (ADAPTED SCREENPLAY)

WINNER

CONCLAVE

Screenplay by Peter Straughan

NOMINEES

A COMPLETE UNKNOWN

Screenplay by James Mangold and Jay Cocks

EMILIA PÉREZ

Screenplay by Jacques Audiard; In collaboration with Thomas Bidegain, Léa Mysius and Nicolas Livecchi

NICKEL BOYS

Screenplay by RaMell Ross & Joslyn Barnes

SING SING

Screenplay by Clint Bentley, Greg Kwedar; Story by Clint Bentley, Greg Kwedar, Clarence Maclin, John “Divine G” Whitfield

WRITING (ORIGINAL SCREENPLAY)

WINNER

ANORA

Written by Sean Baker

NOMINEES

THE BRUTALIST

Written by Brady Corbet, Mona Fastvold

A REAL PAIN

Written by Jesse Eisenberg

SEPTEMBER 5

Written by Moritz Binder, Tim Fehlbaum; Co-Written by Alex David

THE SUBSTANCE

Written by Coralie Fargeat

Final Thoughts

While this year’s Oscars may not have boasted the strongest lineup of films, it made up for it with the resilience and defiance of its attendees. The night was a showcase of resistance, not through overt preaching but through powerful, personal statements. From Adam Sandler’s unexpected fashion statement to Emilia Pérez star Zoe Saldaña honoring her immigrant grandparents, to a Palestinian documentary confronting the Trump administration, the ceremony became a platform for voices that might otherwise go unheard. Regardless of where one stands on the political messages conveyed, the Oscars remain one of the rare global stages where billions can witness stories that challenge, provoke, and inspire

by Myles Shane

Feature photo 97th Oscars, Academy Awards – Conan O’Brien hosts the live ABC telecast of the 97th Oscars® at the Dolby® Theatre at Ovation Hollywood on Sunday, March 2, 2025 by Richard Harbaugh / The Academy Copyright©A.M.P.A.S.

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