2025 Oscar Predictions for Best Picture – Part 2

Including Best International Feature Film Prediction

By An Jingfu

7. I Am Still Here(Portuguese: Ainda Estou Aqui)

Production Companies: VideoFilmes, RT Features, MACT Productions, Arte France Cinéma, Conspiração, Globoplay
Producers: Maria Carlota Bruno, Rodrigo Teixeira, Martine de Clermont-Tonnerre
Distributors: Sony Classics (Brazil), StudioCanal (France), Sony Pictures Classics
Director: Walter Salles
Cast: Fernanda Torres, Selton Mello, Fernanda Montenegro

The film premiered globally at the 81st Venice International Film Festival on September 1, 2024, receiving critical acclaim, particularly for the performance of lead actress Fernanda Torres. It ultimately won the award for Best Screenplay. In November 2024, the film had limited awards-qualifying screenings in the United States, followed by an official release in select theaters in New York City and Los Angeles on January 17, 2025. It expanded to a wider release on February 14, 2025.

Upon its release, the film received overwhelming praise from the public, critics, and Brazilian and international media, with particular focus on Fernanda Torres’ outstanding performance. It scored a 96% on Rotten Tomatoes and grossed 24millionattheboxofficeagainstaproductionbudgetof24millionattheboxofficeagainstaproductionbudgetof1.4 million.

Additionally, the film was selected by the National Board of Review as one of the top five international films of 2024. At the 82nd Golden Globe Awards, Fernanda Torres won Best Actress in a Motion Picture – Drama, and the film was nominated for Best Foreign Language Film. It also received nominations for Best Foreign Language Film at both the Critics’ Choice Movie Awards and the British Academy Film Awards (BAFTA).

At the 97th Academy Awards, the film was nominated for Best International Feature, Best Actress (Fernanda Torres), and Best Picture, making it the first Brazilian film to receive a Best Picture nomination at the Oscars.

Background and Story

I Am Still Here is based on the true story of activist Eunice Paiva, set during Brazil’s military dictatorship in 1970. Her husband is taken away by the military and “disappears.” Eunice relentlessly searches for her husband, only to learn six years later the brutal truth that he was tortured to death.

Director: Walter Salles

Walter Salles was born on April 12, 1956, in Rio de Janeiro, Brazil, and is one of the key figures of Brazil’s “Resumption Cinema” (Cinema da Retomada), a significant revival of Brazilian cinema between 1995 and 2002.

Salles’ father, Walter Moreira Salles, was a diplomat, so he spent his youth living in France and the United States. In 1971, at the age of 15, Salles returned to Brazil under the dictatorship of Emílio Garrastazu Médici.

Salles studied at the University of Southern California’s School of Cinematic Arts and initially gained filmmaking experience through documentaries. He spent ten years making documentaries before transitioning to narrative films.

Directorial Career and Major Works

Salles’ first notable film was Foreign Land (Terra Estrangeira), released in Brazil in 1995. The film was well-received domestically and performed well at the box office, while also being selected for over 40 international film festivals.

In 1998, his film Central Station (Central do Brasil) received widespread international acclaim and earned two Oscar nominations: Best Actress (Fernanda Montenegro) and Best Foreign Language Film. Salles won the Golden Globe for Best Foreign Language Film, becoming the first Brazilian director to receive the award.

In 2001, his film Behind the Sun (Abril Despedaçado), adapted from a novel by Albanian writer Ismail Kadare, earned a Golden Globe nomination for Best Foreign Language Film. Salles once said, “This book deeply moved me. The contrast between the ingrained violence and the brotherly love discovered through poetry and literature was striking.”

In 2003, Salles was named one of the “40 Best Directors in the World” by The Guardian. His most successful international work was The Motorcycle Diaries (Diarios de Motocicleta) in 2004, which depicted the life of a young Ernesto Guevara (later known as Che Guevara). This was Salles’ first non-Portuguese film (it was in Spanish), and it achieved box office success in Latin America and Europe, winning the Prize of the Ecumenical Jury and the François Chalais Prize at the Cannes Film Festival.

In 2005, Salles directed his first Hollywood film, Dark Water, an adaptation of the 2002 Japanese film of the same name. He also contributed to the production of the Argentine film Hermanas, which was a major success.

In 2008, Salles co-wrote and directed Linha de Passe with Daniela Thomas. The film tells the story of four brothers from a poor family striving to achieve their dreams. It was nominated for the Palme d’Or at Cannes, and lead actress Sandra Corveloni won Best Actress for her role.

In 2012, Salles directed On the Road, adapted by José Rivera from Jack Kerouac’s novel, with Francis Ford Coppola as producer. The film was nominated for the Palme d’Or at the 2012 Cannes Film Festival.

Artistic Achievements of I Am Still Here

Cinema is an art form that unfolds over time, immersing audiences in a two-hour audiovisual experience of emotions crafted by the director. Salles tells this story with a fluid, almost documentary-like approach that is gripping. Through the experiences of Eunice’s family, he portrays the terror, unease, and helplessness under military rule, creating an atmosphere more suffocating than a horror film. Audiences not only experience the core emotions of the film but also feel the protagonist’s relentless determination to find her husband in the face of terror.

The film opens with scenes of the Rubens family’s happy life with their children, whether at the beach or at home. As the military government takes power, the social atmosphere grows tense. The shocking process of Rubens being taken away and the family’s ensuing terror, unease, helplessness, and pain are vividly depicted. Eunice faces repeated setbacks in her search for her husband but perseveres, striving to keep her family intact. Her ordeal in detention, as well as the care, love, and support between her and her four children, deeply move the audience.

The film’s themes and emotional impact serve as a reminder to the world: such history must not be repeated.

8. The Nickel Boys

Production Companies: Orion Pictures, Plan B Entertainment, Anonymous Content, Louverture Films
Producers: Dede Gardner, Jeremy Kleiner, David Levine, Joslyn Barnes
Director: RaMell Ross
Cast: Ethan Herise, Brandon Wilson

The Nickel Boys is a profoundly meaningful and formally innovative masterpiece of 2024. Adapted from the Pulitzer Prize-winning 2019 novel by acclaimed Black author Colson Whitehead, the film tells the harrowing story of two Black boys who endure brutal trials and forge a deep friendship at the infamous Nickel Academy, a reform school in Florida.

The film premiered at the Telluride Film Festival on August 30, receiving widespread acclaim and a 90% score on Rotten Tomatoes. It subsequently screened at numerous film festivals before its official theatrical release in the United States on December 23 by Amazon Studios. To date, the film has grossed 2.8millionagainstaproductionbudgetof2.8millionagainstaproductionbudgetof23.2 million. Despite its modest box office performance, the film’s artistic innovation and its unflinching portrayal of the abuse of Black boys in a 1960s Southern reform school make it a significant work both artistically and humanistically, ensuring its lasting impact on film history.

Director/Screenwriter: RaMell Ross

RaMell Ross is a photographer, writer, professor, visual artist, and documentary filmmaker. The Nickel Boys marks his first non-documentary feature film.

Born in 1982 in Frankfurt, Germany, Ross grew up in Fairfax, Virginia. In 2000, he enrolled at Georgetown University to study English and sociology. After graduating, he pursued photography at the prestigious Rhode Island School of Design, earning a Master of Fine Arts degree.

The following is adapted from Wikipedia:
In 2006, Ross moved to Ireland to work on the Northern Ireland peace initiative “Playing for Peace.” While there, he played professional basketball for the MDS Sea Star Belfast team in the Northern Division of the Irish Super League. It was during this time that he first developed an interest in directing and video editing, apprenticing as a video editor for North Star Basketball.

In 2009, Ross relocated to Greensboro, Alabama, where he worked as a basketball coach and photography teacher. These experiences inspired him to create several photography collections and art installations about Black life in the American South.

In 2015, Filmmaker Magazine named Ross one of the “25 New Faces of Independent Film.” That same year, he became a Sundance Institute New Frontier resident artist at the MIT Media Lab. In 2016, he joined the Brown Arts Initiative at Brown University, where he currently serves as an assistant professor of visual art. Shortly after, he received a two-year Mellon Gateway Fellowship.

Ross’s directorial debut, Hale County This Morning, This Evening, an experimental documentary about Black life in Hale County, Alabama, premiered at the Sundance Film Festival in 2018 and won the Special Jury Award for Creative Vision. The film also won a Peabody Award and was nominated for the 2019 Academy Award for Best Documentary Feature and the Primetime Emmy Award for Outstanding Documentary Filmmaking.

Ross’s documentary short Easter Snap, which depicts five men ritually preparing to slaughter a pig, premiered at the Sundance Film Festival in 2019.

From October 2021 to March 2022, the Ogden Museum of Southern Art hosted a retrospective of Ross’s work titled Spell, Time, Practice, American, Body: The Works of RaMell Ross. His collection Spell, Time, Practice, American, Body was published in 2023.

RaMell Ross’s Artistic Vision and The Nickel Boys

RaMell Ross’s artistic background as a documentary filmmaker and visual artist gives him a avant-garde, experimental edge. When MGM Orion and Plan B producers sought a fresh perspective for their adaptation of The Nickel Boys, they turned to Ross, inspired by his work on Hale County This Morning, This Evening (2018).

Hale County This Morning, This Evening poetically and intimately portrays Black life in Hale County, Alabama, focusing on two young men, Quincy Bryant and Daniel Collins, as they navigate their dreams and responsibilities. Ross employs a nonlinear, impressionistic style, highlighting the beauty, struggles, and resilience of everyday life. By emphasizing personal experiences over structured narratives, the film challenges stereotypes about Black communities in the American South.

The documentary premiered at the 2018 Sundance Film Festival, winning the Special Jury Award for Creative Vision. It received widespread acclaim, earning a nomination for the 91st Academy Award for Best Documentary Feature and winning a Peabody Award. Many critics listed it as one of the best films of the year.

As a photographer and first-time feature director, Ross brought an artistic and observational approach to The Nickel Boys, blending cinéma vérité with experimental techniques. The success of Hale County This Morning, This Evening established him as a visionary director and paved the way for his involvement in The Nickel Boys.

When Ross shared his plan to adapt the novel using a first-person perspective (POV) approach, author Colson Whitehead wished him luck.

The film’s portrayal of violence and abuse through Elmwood and Turner’s perspectives feels more authentic and impactful than a conventional narrative. Reading Ross’s script reveals that the film’s structure and visual world closely align with the final product.

Story Summary

In 1962, during the Jim Crow era in Tallahassee, Florida, a young Black boy named Elwood Curtis demonstrates exceptional academic talent. His Black teacher encourages him to think independently and reject the biased historical narratives in Southern textbooks. Raised by his loving grandmother, who fears retaliation from white society if he participates in the growing civil rights movement, Elwood nonetheless becomes involved, briefly joining protests and holding signs.

Elwood is accepted into a historically Black college (HBCU) and qualifies for a free accelerated learning program. While hitchhiking to campus, he is picked up by a man driving a stolen car. The police arrest the driver and convict Elwood as an accomplice. Because Elwood is a minor, he is sent to the Nickel Academy, a reform school.

The Dark Reality of Nickel Academy

Nickel Academy is racially segregated: white students enjoy comfortable accommodations and staff favoritism, while Black students are housed in dilapidated facilities and receive little education. Although the white administrator, Spencer, tells Black students they can be released for good behavior, in reality, they must wait until they turn eighteen, as the school profits from their cheap labor.

Spencer’s wife shows some kindness to Elwood, gifting him books like Pride and Prejudice and allowing him to use her pool. However, Elwood must perform unpaid labor for these “privileges.”

Friendship and Conflict

Elwood befriends Turner, a quiet and cynical student. While Elwood is inspired by the nonviolent and democratic ideals of the civil rights movement, Turner is pessimistic, believing society will only abuse them and urging Elwood to keep a low profile. When Elwood is bullied and beaten by another student, the administrators punish both boys brutally instead of intervening.

Elwood’s grandmother attempts to visit him but is turned away at Nickel Academy. She saves money to hire a lawyer to appeal his case, but the lawyer absconds with the funds, leaving Elwood in despair. Spencer also secretly executes a Black student who refuses or forgets to throw a boxing match as instructed, betting on the outcome of Nickel Academy’s annual Black vs. white boxing matches.

Adult Turner

In present-day scenes, an adult Turner (who has renamed himself Elwood in honor of his deceased friend) lives in New York City, running a moving business. A former classmate, Chickie Pete, visits him, reminiscing about the past and asking for work. When Turner learns that unmarked graves have been discovered at the Nickel Academy site, he is deeply shaken and begins to investigate. Forensic evidence reveals that most of the dead students were Black.

Act Three: Escape and Tragedy

Back in the 1960s, Elwood, weary of the abuse at Nickel Academy, compiles a detailed diary of the school’s atrocities and convinces a reluctant Turner to help him deliver it to a government inspector as evidence. However, nothing comes of it, and the school administrators lock Elwood in a “sweatbox” for punishment. When Turner learns that the school plans to kill Elwood, he and Elwood decide to escape together.

They flee on bicycles but are quickly pursued by Nickel Academy’s vehicles. Turner manages to escape into the woods, but Elwood, weakened by the sweatbox, cannot keep up. He is eventually shot and killed.

Turner’s New Life and Exposing the Truth

Turner safely reaches Tallahassee and informs Elwood’s grandmother of his death. He then moves north, adopting Elwood’s name and building a stable life with his wife, Millie. He strives to live by Elwood’s ideals in his memory. When the government begins investigating the atrocities at Nickel Academy, Turner decides to testify and share his experiences.

Narrative Techniques and Visual Composition

The film’s narrative techniques and visual composition combine historical depth, personal perspective, archival footage, photographic retrospectives, exposure of atrocities, 1960s Black life, Brechtian commentary, and analogical imagery. This multilayered approach creates a unique style that blends the beauty of POV storytelling, the authenticity of documentary filmmaking, and the aesthetic value of visual art, resulting in a highly innovative work.

POV (First-Person Perspective) Application
The film employs Elwood’s perspective for the first 36 minutes. At the 36-minute mark, Turner’s voice enters, and the director introduces Turner’s POV of Elwood, allowing the audience to see Elwood’s full image for the first time. Before this, the film uses Elwood’s subjective shots and voiceover to immerse the audience in his sensory world. This extended use of subjective perspective is rare in film history and represents a groundbreaking innovation.

In the first 36 minutes, Elwood’s image is only glimpsed indirectly—through a fleeting black-and-white photo with his girlfriend, reflections in an iron, shop windows, or car windows. These shots depict Elwood’s childhood with his grandmother, his school life, his job at a store, his relationship with his girlfriend, and his wrongful arrest as an accomplice to car theft. A 2-minute, 30-second POV long shot captures Elwood’s arrival at the reform school, documenting his life there—classes, labor, preferential treatment of white students, crowded showers, and whippings in the punishment room.

From Turner’s POV onward, the narrative shifts from Elwood’s single perspective to a dual perspective, allowing the audience to experience the friendship, conversations, and conflicts between the two boys. Director RaMell Ross took a significant risk by committing to this subjective approach, but audiences not only accepted it but praised it highly. This method produced many unique cinematic moments, such as the scene where Elwood’s grandmother is denied visitation and the 2-minute, 40-second long shot of Elwood and Turner meeting, talking, and embracing on campus.

1960s Social Context and Black Movement
The film enriches its historical context by incorporating archival footage of the 1960s civil rights movement, such as Martin Luther King Jr.’s speeches, discussions of the Selma marches, the moon landing, and classroom screenings of King’s speeches. These elements deepen the film’s historical resonance.
Director’s Visual Commentary and Brechtian Techniques
Ross inserts visual commentary and Brechtian distancing effects, such as:

Analogical shots: Parallels between The Defiant Ones (1958) and scenes of Elwood and white boys in a police car.
Inserted imagery: Black boys digging graves, a boy being dragged away, and old iron rings on trees.
Dream sequences: Elwood’s visions of escaping on a train and dancing at his grandmother’s house.

Adult Turner’s Narrative Thread
The film intercuts scenes of adult Turner (facing away from the camera) researching Nickel Academy’s atrocities online, revealing the lasting trauma of his experiences. These inserts include:

Photos of Black boys tending horses at the school.
Close-up montages of abused Black boys, accompanied by the sound of Elwood being whipped.
School group photos and images of the remains and graves of murdered Black students.

These visuals, paired with a fast-paced clarinet score, create a powerful climax, blending narrative filmmaking with visual artistry. This innovative approach adds emotional depth and artistic value, making The Nickel Boys a landmark film.

9. “The Substance”

Production Companies:Working Title Films, Blacksmith
Producers:Coralie Fargeat, Tim Bevan, Eric Fellner
Director: Coralie Fargeat
Starring: Demi Moore, Margaret Qualley, Dennis Quaid
Rotten Tomatoes Score: 89%
Box Office: 77million∗∗Budget:∗∗77million∗∗Budget:∗∗17.5 million

The film won the Best Screenplay award at the 2024 Cannes Film Festival and received Academy Awards for Best Picture, Best Director, Best Screenplay, Best Actress, and Best Makeup and Hairstyling.

Director: Coralie Fargeat
Coralie Fargeat was born in 1976 in Paris, where she grew up. By the age of 16 or 17, she had decided to become a filmmaker. After studying at the Paris Institute of Political Science, she began working in film set design. In 2010, she enrolled in La Fémis, a prestigious film school in Paris, and participated in a year-long screenwriting workshop, Atelier Scénario. However, she was told that her work might never be produced due to its violent and graphic nature.

During her time at La Fémis, Fargeat formed a collective called La Squadra with a group of director friends. They aimed to collaborate on their feature films, as they all wanted to create genre films and faced similar challenges. They met twice a week, inviting filmmakers and industry professionals to share their experiences, which helped them gain a deeper understanding of how the film industry operates and how to tell their own stories.

Early Works
Fargeat’s first short film, Le télégramme (2003), tells the story of two women waiting for a message during World War II. The film won 13 awards at various film festivals.

In 2007, Fargeat co-wrote and directed the comedy miniseries Les Fées cloches with Anne-Elisabeth Blateau.

In 2014, she released the sci-fi short film Reality+, which was nominated for a Jury Award at the Tribeca Film Festival.

Debut Feature: Revenge (2017)
Fargeat’s debut feature, Revenge, is a revenge thriller about a young woman who is raped, pushed off a cliff, and left hanging from a tree. She manages to escape and outwits the three men hunting her, ultimately killing them one by one. Fargeat’s directorial talent shines through in this film, showcasing her ability to create tension and impact through montage, close-ups of characters and objects, and dynamic camera movements. A particularly impressive six-minute tracking shot in Revenge highlights her skill in filming and editing action sequences.

Fargeat’s fascination with blood and wounds is evident, as she often pushes violent scenes to their limits, sometimes even incorporating dark humor. Her directorial prowess has been compared to that of Hitchcock, Spielberg, and the Coen Brothers, and in some aspects, she surpasses them. Her use of parallel montage, lighting, color, sound design, and editing is impeccable.

The Substance (2024)
Fargeat’s second feature, The Substance, is a body horror film starring Demi Moore, Margaret Qualley, and Dennis Quaid. The film premiered in competition at the 2024 Cannes Film Festival and received widespread acclaim, earning Fargeat the Best Screenplay award.

Filmmaking Style and Influences
Coralie Fargeat is deeply fascinated with suspense, tension, and thriller elements. She is passionate about creating her own cinematic worlds that exist beyond reality. She cites revenge films like Kill Bill and Rambo as examples of successful narratives that build unique spaces.

When crafting violent or bloody scenes, Fargeat finds that balancing violence with humor makes such scenes more palatable for audiences. She believes that films that are overly reverential or referential can alienate viewers. She describes this detachment as a “second-degree moment” and chooses to avoid excessive references. Fargeat emphasizes the importance of approaching filmmaking with sincerity, striving to “embrace themes through choices, biases, excess, and mistakes.”

Fargeat cites David Cronenberg, John Carpenter, David Lynch, Paul Verhoeven, and Michael Haneke as major influences, alongside several Korean filmmakers who inspire her stylistically.

From Concept to Screen: The Substance
After the success of Revenge (2017) in the U.S., Fargeat had opportunities to work on major studio projects, including Marvel’s Black Widow (2021). However, she was uninterested in studio films due to the lack of final cut privileges.

After the release of Revenge, Fargeat spent several months in Los Angeles, where she began writing the script for The Substance at a coffee shop in Silver Lake. She decided to produce the film herself to maintain creative control. Co-producer Eric Fellner, who had watched Revenge in 2017, traveled to Paris multiple times to have lunch with Fargeat, trying to convince her to partner with Working Title for her next project.

The script took two years to develop, drawing inspiration from her short film Reality+ (2014). The entire production process, from concept to release, spanned five years. The script was written in both English and French, with French descriptions, though the film primarily targets English-speaking audiences for broader appeal.

Feminist Themes and Creative Motivation
In The Substance, Fargeat continues the feminist themes explored in Revenge, delving into what it means to be a woman. She began writing the film in her 40s, a time when she was grappling with negative thoughts about her own relevance and appearance. She recalls, “I really started thinking, and these voices appeared in my head, like, ‘Now your life is over, no one will care about you.’”

She describes the process of making the film as a way to confront and release the internalized violence tied to societal expectations of women’s bodies and aging. She chose the body horror genre as a “weapon of expression” to explore these themes.

Scriptwriting and Detail Design
Fargeat meticulously crafted a 146-page script, with less than 29 pages dedicated to dialogue. She describes her writing style as novelistic, with the script being highly detailed. Every sensory experience the audience feels in the final film—including sound (with onomatopoeia like “SPLOSH” and “AAAGH”) and even specific close-up shots—is written into the script.

She chose to omit character backstories, preferring to reveal information through actions, settings, and costumes. For example, colors in the script symbolize character traits—Elizabeth Sparkle’s yellow jacket represents her “superhero” qualities before her transformation, while Sue’s pink bodysuit symbolizes her femininity.

In a 2020 draft of the script, Sue was described as a blonde character, with her name evoking the “doll-like” images of Lolita and Marilyn Monroe, as well as enduring classic beauty standards. Fargeat chose the name “Elizabeth” for its “iconic resonance” with Old Hollywood stars, while “Sparkle” was selected for its association with happiness and “shining in the light.”

The Birth of Key Scenes
The film’s pivotal scene was conceived by Fargeat while she was in the shower, and it was the first scene she wrote. In her view, it is “the most important scene in the film.” She recalls, “I didn’t even know who my characters would be. This was the first scene I truly thought of, and it contains the film’s core DNA—a visceral experience that allows the audience to feel what the character feels without words.”

Fargeat later decided that the protagonist should be an actress to explore societal perceptions of the body. She drew inspiration from Jane Fonda’s transition from a successful actress to a fitness video star, which influenced her choice to have Elizabeth Sparkle host a fitness class.

Synopsis
Elisabeth Sparkle is a once-renowned but now faded Hollywood movie star who has won an Academy Award. On her 50th birthday, she is fired from the fitness TV show she has long hosted by the producer, Harvey, due to her age. Distraught, Elisabeth crashes her car while driving distracted. At the hospital, a young nurse secretly hands her a USB drive advertising “The Substance,” a black-market drug that promises to create a “younger, more beautiful, more perfect” version of oneself.

Curious and desperate, Elisabeth orders “The Substance” and injects the one-time activator serum. Her body begins to convulse violently, and a young woman in her 20s emerges from a slit in her back. The two bodies must switch consciousness every seven days, with the inactive body remaining unconscious. The new body, who calls herself Sue, requires daily injections of a stabilizer liquid extracted from the original body to prevent deterioration.

Sue quickly rises to fame after an audition and is eventually chosen by Harvey to host the network’s prestigious New Year’s Eve show. While Sue lives a confident and hedonistic life, Elisabeth becomes a self-loathing recluse. Near the end of one cycle, Sue greedily extracts extra stabilizer liquid, causing Elisabeth’s right index finger to rapidly age. Elisabeth contacts the supplier, who warns her that failing to follow the switching procedure will result in irreversible rapid aging of the original body.

Despite sharing consciousness, Elisabeth and Sue begin to see themselves as separate entities and grow to despise each other. Elisabeth resents Sue’s frequent disregard for the switching schedule, which accelerates her aging, while Sue is horrified by Elisabeth’s self-hatred and binge-eating. After a particularly destructive episode, Sue hoards the stabilizer liquid and refuses to switch back to Elisabeth.

Three months later, on the eve of the New Year’s broadcast, Sue runs out of stabilizer liquid and contacts the supplier, who tells her she must switch back to Elisabeth to replenish it. When they switch, Elisabeth finds herself transformed into a hunched, elderly woman. Desperate, Elisabeth tries to stop Sue’s further aging by ordering a serum designed to terminate her existence. However, still craving the adoration that comes with Sue’s celebrity status, Elisabeth stops short of fully injecting the serum and revives Sue, leaving both of them conscious. Realizing Elisabeth’s intentions, Sue attacks and mercilessly kills her, then leaves to host the New Year’s special.

Without the stabilizer liquid, Sue’s body begins to rapidly deteriorate. In a panic, she attempts to use the remaining activator serum to create a new version of herself, resulting in Sue’s death and the birth of a grotesque mutated body—”Monstro Elisasue,” with the faces of both Elisabeth and Sue. Monstro dresses up, wearing a mask cut from Elisabeth’s poster, and returns to the studio to attempt hosting the show, but the audience descends into chaos. A viewer beheads her, only for an even more mutated head to grow back, and one of her arms breaks off, spraying blood like a fountain onto the panicked audience and Harvey. Monstro flees the stage to the streets, where her body explodes, Sue’s face shatters, and Elisabeth’s original face emerges from the bloody remains, crawling onto her star on the Hollywood Walk of Fame, melting into a pool of blood with a satisfied smile. The next day, cleaners arrive to wash away the blood, and the film ends.

Themes and Conflict
If Revenge is a film about external conflict, The Substance externalizes internal conflict. The film explores the dilemma of whether to remain true to oneself and accept aging or to conform to societal expectations and pursue youth and beauty. This theme carries broad social significance, as everyone faces similar choices, but it is particularly poignant for women in a society dominated, scrutinized, and judged by men.

The entire 2-hour-and-30-minute runtime builds on this conflict, driving the narrative forward. From the 56-minute mark, when Sue’s overuse of the stabilizer liquid causes Elisabeth’s finger to deform, Elisabeth is thrust into the heart of this dilemma. She can choose to remain her deformed self and end the conflict, but she cannot resist Sue’s youth, vitality, and the adoration from male producers, especially her longing to reclaim her past glory at the New Year’s show. She repeatedly wrestles with her conscience, each time yielding to the societal desire embodied by Sue. Even after she is completely transformed and resolves to end Sue’s life, she revives Sue upon seeing the New Year’s show advertisement. After a struggle, Sue—the uncontrollable pursuit of youth—kills the regretful Elisabeth.

Climax and Resolution
As Sue’s body deteriorates from the lack of stabilizer liquid, she attempts to halt the process by injecting a regeneration serum, resulting in the birth of the true “self”—Monstro Elisasue. By this point, Elisabeth, despite her grotesque appearance, finds inner peace. She decides to challenge society by taking the stage, but she is rejected, beheaded, and dismembered. In her rage, she sprays blood onto the crowd, releasing her hatred and exacting her revenge. After her body explodes, she fully expels Sue—the desire for youth and societal approval—and reverts to the dying Elisabeth. She returns to her spiritual and physical home—her star on the Walk of Fame—and dies contentedly.

Director and Artistic Achievement
From the script’s concept to character development, the gradual unfolding of conflict, and the climax, we witness the maturity and talent of Coralie Fargeat. It is nothing short of a miracle that she successfully developed such a story, earning admiration from the film industry.

Seven years later, with the support of her team and collaborators, Coralie demonstrates even greater maturity and skill in The Substance than in Revenge. Every scene and shot is praiseworthy. Her use of close-ups, object details, point-of-view shots, montage sequences, camera movements, and her handling of violence, blood, humor, and surreal elements all reach an exceptionally high artistic standard. Additionally, the performances of Demi Moore and Margaret Qualley add significant depth to the film.

Outstanding Sequences

Climactic Sequence: The theater bloodbath (extreme revenge violence, with masterful shooting, editing, and compositing of various shots).
Elisabeth’s Inner Struggle: Discovering her deformed finger, obtaining the serum, encountering an elderly user, going on a date, seeing Sue’s giant advertisement, returning to her dressing room to remove her makeup, and sitting alone in her living room. These scenes are almost entirely composed of silent shots, showcasing immense expressive power.
Elisabeth Injecting the Serum: The birth of Sue, highlighting Coralie’s meticulous attention to detail.
Harvey Eating Shrimp: A scene that subtly reveals Harvey’s desire for power and control while enjoying his meal.

On the Number of Shots
The exact number of shots in The Substance has not been publicly disclosed, but it is estimated to be between 2,500 and 3,500. The film’s production was highly detailed and complex. Principal photography lasted 108 days, with crew sizes ranging from 8 to 200 people depending on the scene’s complexity. In many cases, only one camera was used.

Coralie Fargeat is known for her meticulous shooting methods, often requiring multiple takes to achieve the desired effect. For example, Demi Moore mentioned that a particularly challenging scene, involving repeated makeup and shooting, left her physically and mentally exhausted after approximately 45 takes.

Additionally, complex scenes like the pivotal “birth” sequence in the bathroom were composed of multiple shots from two different sets, creating a seamless and immersive experience.

10. Wicked

Production Companies:Universal Pictures, Marc Platt Productions
Producers: Marc Platt, David Stone
Director: Jon M. Chu
Starring: Cynthia Erivo, Ariana Grande
Release Date: November 22, 2024
Box Office: 727million∗∗Budget:∗∗727million∗∗Budget:∗∗150 million

The film received widespread acclaim, earning an 88% score on Rotten Tomatoes and 10 Oscar nominations, including Best Picture, Best Actress, Best Supporting Actress, Best Editing, Best Costume Design, Best Makeup and Hairstyling, Best Original Song, Best Production Design, and Best Sound.

Background and Significance
The release of Wicked is a major event in American cinema. The film adapts one of the most beloved musicals in history, which premiered on Broadway in 2003 and has run for over 20 years, with more than 8,200 performances and 17 million viewers. The musical’s themes—equality, tolerance, compassion for animals and the vulnerable, self-identity, and standing up for justice—have influenced two generations of young audiences.

Through its audiovisual appeal, grand spectacle, and iconic songs performed by renowned stars, the film not only attracts longtime fans but also draws a broader audience across different ethnicities, ages, and genders, achieving unprecedented popularity for a musical adaptation.

Story Background and Themes
The Wicked musical reimagines the backstory of the witches from The Wizard of Oz (1939), offering a fresh perspective on the classic tale. Adapted from Gregory Maguire’s novel Wicked: The Life and Times of the Wicked Witch of the West, the musical explores themes of friendship, power, and the nature of good and evil.

Plot Summary
Set in the magical land of Oz, the story follows Elphaba, a green-skinned girl who becomes the infamous Wicked Witch of the West, and Glinda, who becomes the beautiful and popular Good Witch of the North. The two meet at Shiz University, initially as rivals but gradually developing an unlikely friendship.

Elphaba hopes to meet the Wizard of Oz, believing he can help her control her powers and do good for the world. However, upon meeting him, she quickly realizes he is not the benevolent leader she imagined but a dictator. When she stands up against his corrupt regime, she is labeled “wicked” and forced to flee, embracing her new identity as the Wicked Witch of the West. Meanwhile, Glinda chooses a path of conformity and fame, eventually becoming the public face of goodness in Oz.

The story intertwines with the events of The Wizard of Oz, delving into how Elphaba and Glinda’s choices shape their destinies.

Themes

Friendship and Betrayal: The deep yet complex friendship between Elphaba and Glinda is at the heart of the story.
Prejudice and Acceptance: Elphaba is judged for her appearance and beliefs, reflecting real-world themes of discrimination.
Power and Corruption: The Wizard’s tyranny and Elphaba’s resistance highlight the struggle between integrity and authority.
Perception vs. Reality: The story challenges notions of good and evil, showing that history is often written by those in power.

Music and Legacy
The score, composed and written by Stephen Schwartz, includes iconic songs such as:

“Defying Gravity”: Elphaba’s powerful anthem of independence.
“Popular”: Glinda’s lively lesson on fitting in.
“For Good”: A heartfelt farewell between the two friends.

From Novel to Musical
In the late 1990s, Universal Pictures acquired the rights to Gregory Maguire’s 1995 novel Wicked: The Life and Times of the Wicked Witch of the West, planning a live-action film adaptation. The novel subverts the story of The Wizard of Oz, delving into the life of Elphaba from birth to death, portraying her not as inherently evil but as misunderstood by society. It explores themes of identity, morality, and the duality of good and evil, presenting a complex and layered version of Oz.

Composer and lyricist Stephen Schwartz was drawn to the novel’s unique perspective and richly complex characters, seeing potential for a musical adaptation. He purchased the rights and transformed it into a vibrant, emotionally rich, and justice-driven musical.

To bring this vision to life, the musical assembled a creative team, with Winnie Holzman, the acclaimed writer of My So-Called Life, penning the script. Schwartz and Holzman adapted the novel’s intricate plot and themes into a stage production, streamlining the narrative and focusing on the relationship between Elphaba and Glinda. The musical also introduced a lighter tone, humor, and catchy songs, contrasting with the novel’s darker, more political undertones.

From Musical to Film
Discussions about a film adaptation began as early as 2004. Over the years, directors such as J.J. Abrams, James Mangold, Ryan Murphy, and Rob Marshall were considered. In 2012, Stephen Daldry was appointed as director, with a planned release in December 2019. However, the project faced multiple delays due to scheduling conflicts and the COVID-19 pandemic, leading to Daldry’s departure in October 2020.

In February 2021, Jon M. Chu was announced as the new director. Recognizing the depth of the source material, Chu and the production team decided to split the adaptation into two films to fully explore the narrative and character development. Principal photography began in December 2022 at Sky Studios Elstree in the UK. Despite challenges, including a temporary halt due to the SAG-AFTRA strike in July 2023, filming concluded in January 2024.

Cast and Release
The film stars Cynthia Erivo as Elphaba and Ariana Grande as Glinda, with supporting roles by Jonathan Bailey, Jeff Goldblum, and Michelle Yeoh. The first part premiered on November 22, 2024, receiving positive reviews and massive box office success. A sequel is scheduled for release in November 2025.

Screenplay and Music
The screenplay was co-written by Winnie Holzman (born 1954) and Dana Fox (born 1976), with music and songs provided by Stephen Schwartz and John Powell.

Elphaba’s Character
Elphaba is a sympathetic character. Born with green skin and magical abilities, she faces discrimination and misunderstanding. Her relationship with Glinda evolves from initial hostility to mutual respect and friendship. Elphaba takes Glinda to Oz, hoping to change her skin color and control her powers to help others and make a positive impact on the world. However, upon discovering the Wizard’s true nature, her motivations shift. When the Wizard demands she use her powers for his corrupt purposes, she refuses, rebels against his regime, and is branded the “Wicked Witch of the West.” This moment marks her transformation from a hopeful young woman to a misunderstood outcast fighting for justice.

Visual and Emotional Elements
The story is filled with exaggerated, fantastical sets, architecture, costumes, and hairstyles, grand spectacles, talking animals, magical powers (perfect for cinematic adaptation), comedy, romance, love triangles, sisterhood, misunderstandings, friendships, coincidences, acceptance, rebellion, and justice. The tightly woven plot and emotional twists are expressed through songs and dances, providing Jon M. Chu with a solid foundation to showcase his directorial talent.

Jon M. Chu’s Directorial Brilliance
Chu excels in using moving cameras to capture song and dance sequences, arguably unmatched in this regard. Every musical number in the film is captivating.

Opening Sequence: The film begins with a mesmerizing shot of the Wicked Witch melting into a puddle, followed by a flying monkey, and then transitions to the citizens of Oz celebrating her death. Glinda descends from the sky to join the festivities and narrates the story of the Wicked Witch. The ensemble performance of No One Mourns the Wicked is particularly striking, with grand visuals and masterful cinematography and editing.
The Wizard’s Affair: The song One Short Day (a single moving shot) reveals the Wizard’s secret relationship with the Governor’s wife.
Elphaba and Glinda’s First Meeting: The scene where Elphaba arrives at Shiz University and meets Glinda is brilliantly staged.
Elphaba’s Awakening: Elphaba discovers her magical abilities and receives encouragement from Madame Morrible. The songs The Wizard and I and What Is This Feeling? showcase her inner transformation.
Glinda and Elphaba’s Coexistence: The two share a room, each harboring different thoughts.
Library Dance: Fiyero and other students perform Dance Through Life on rotating bookshelves.
Ball Scene: Glinda’s Popular and Elphaba’s I’m Not That Girl highlight their emotional conflict.
Arrival in Emerald City: The song A Short Day depicts their arrival in the Emerald City.

Climactic Sequence: Act III (1:55-2:41)
From Elphaba and Glinda entering the Emerald City to Elphaba flying away on her broomstick, this sequence is exceptionally well-executed. The first half is filled with mystery, while the second half is tense and thrilling, building step by step to the climax. As Elphaba escapes during the chase, the film momentarily transforms into an action-packed adventure, reminiscent of Spielberg’s work, and in some aspects, surpassing it. This sequence is a testament to Chu’s directorial prowess, leaving audiences in awe.

Jon M. Chu’s Wicked is more than a movie—it’s a cinematic spectacle that reinvents a Broadway classic for a new generation.

Oscar Predictions

Best Picture

Anora / The Brutalist

Best Director

Brady Corbet (The Brutalist)
Sean Baker (Anora)
Coralie Fargeat (The Substance)

Best Original Screenplay

Sean Baker – Anora
Brady Corbet – The Brutalist
Jesse Eisenberg – A Real Pain

Best Adapted Screenplay

Conclave
The Nickel Boys

Best Actress

Micky Madison

Demi Moore

Best Actor

Adrien Brody
Ralph Fiennes
Timothée Chalamet

Best Supporting Actress

Zoe Saldana

Best Supporting Actor

Kieran Culkin

Best Cinematography

Lol Crawley – The Brutalist
Paul Guilhaume – Emilia Pérez

Best Editing

Nick Annesen – Conclave

Juliette Welfling Amilia Perez

Best Sound

Gareth John, Richard King, Ron Bartlett, and Doug Hemphill – Dune: Part Two

Best Production Design

Nathan Crowley (Production Design), Lee Sandales (Set Decoration) – Wicked
Judy Becker (Production Design), Patricia Cuccia (Set Decoration) – The Brutalist
Craig Lathrop (Production Design), Beatrice Brentnerová (Set Decoration) – The Vampire

Best Original Music Score

Clément Ducol and Camille

The Best International Feature Film

1 Emilia Perez (see the above)

2 I am still Here (see the above)

3. The Seed of the Sacred Fig (Germany)

Production Companies: Run Way Pictures, Parallel45, Arte France Cinema
Producers: Mohammad Rasoulof, Rozita Hendijanian, Amin Sadraei, Jean-Christophe Simon, Mani Tilgner
Director/Writer: Mohammad Rasoulof
Starring: Soheila Golestani, Missagh Zareh, Mahsa Rostami, Setareh Maleki
Release: November 27, 2024 (USA, Neon Pictures)

The film premiered in the main competition at the 77th Cannes Film Festival on May 24, 2024, where it won the Special Jury Prize. It was released in France on September 18, 2024, and in Germany on December 26, 2024. It was named Best International Film by the National Board of Review and received nominations for Best Foreign Language Film at the 82nd Golden Globe Awards and Best International Feature Film at the 97th Academy Awards. It holds a 96% rating on Rotten Tomatoes.

Director: Mohammad Rasoulof
Born in July 1972 in Shiraz, Iran, Rasoulof initially studied sociology at the University of Tehran before transitioning to filmmaking. His early works were primarily documentaries and short films, and he later moved into feature films, becoming a renowned independent filmmaker. His filmography includes:

The Twilight (2002): His debut feature, which received domestic acclaim but faced government censorship due to its sensitive content.
Iron Island (2005): A story about a group of drifters establishing their own social order on an abandoned oil tanker, seen as a metaphor for the Iranian regime.
The White Meadows (2009): A symbolic political allegory exploring oppression and superstition in Iranian society. The film was banned in 2010, and Rasoulof was arrested.
Goodbye (2011): Depicts a female lawyer attempting to flee Iran, symbolizing the government’s persecution of dissidents. It won the Best Director award in the Un Certain Regard section at the 2011 Cannes Film Festival. Rasoulof was sentenced by the Iranian government for his political stance.
Manuscripts Don’t Burn (2013): Based on real events of intellectual persecution in Iran, the film directly criticizes the government’s oppressive mechanisms. It premiered at the 2013 Cannes Film Festival and won the FIPRESCI Prize. Rasoulof’s passport was revoked due to the film’s controversial content.
A Man of Integrity (2017): A critique of Iran’s corrupt system through the struggles of an ordinary man. It won the Un Certain Regard Prize at the 2017 Cannes Film Festival, but Rasoulof was arrested upon returning to Iran and banned from filmmaking.
There Is No Evil (2020): A four-part anthology exploring Iran’s death penalty and its impact on society and individuals. It won the Golden Bear (Best Film) at the 2020 Berlin International Film Festival. Due to its political sensitivity, Rasoulof was unable to attend the festival and was sentenced by Iranian authorities.
The Seed of the Sacred Fig (2024): A political, family, and psychological thriller that metaphorically critiques authoritarian oppression through the story of a security official grappling with faith and loyalty during anti-government protests. Rasoulof was sentenced to eight years in prison before the film’s release but escaped Iran and now resides in Germany. The film premiered in the main competition at the 2024 Cannes Film Festival and won the Special Jury Prize.

Synopsis
The film centers on Iman, a devout lawyer recently appointed as an investigative judge at Tehran’s Revolutionary Court. As nationwide protests escalate following the death of a young woman, Iman is pressured by his superiors to issue harsh sentences without proper evaluation, leading to internal conflict and growing paranoia. When his government-issued gun mysteriously disappears, Iman’s suspicions turn toward his own family—his wife Najmeh and their progressive daughters, Rezvan and Sana. This mistrust escalates into intense familial confrontations, mirroring the social turmoil outside their home.

Iman’s name, address, and photo are leaked on social media. To protect his family, he decides to take them to his childhood mountain cabin. Before leaving, a colleague gives him another gun for protection. At the cabin, Iman interrogates his family, forcing them to confess under a camera. To protect her sister and mother, Rezvan fabricates a story about hiding the gun. Iman locks up Najmeh and Rezvan, but Sana escapes with the gun. She sets a trap, locking Iman in a shed and freeing her mother and sister. Iman eventually escapes.

The film culminates in a frantic chase outside the cabin. When Iman catches Najmeh, their daughters hear her cries for help. Sana points the gun at her father but hesitates. As Iman approaches, she panics and fires at the ground beneath him, causing it to collapse and bury him.

The film ends with a mobile phone screen showing women proudly protesting in the streets of Tehran.

Themes and Analysis
Like many Iranian films, The Seed of the Sacred Fig is masterfully scripted and deeply dramatic. The story revolves around Iman’s gun, which becomes a source of tension and suspense, affecting both his family and his professional life. The film’s tight dramatic structure could easily be adapted into a stage play.

Most of the story unfolds within the confines of Iman’s home and courtroom office. The outside world of protests and unrest is conveyed through the daughters’ phones, influencing the family’s dynamics—Najmeh’s anxiety, the daughters’ tension, and Iman’s growing paranoia. The family’s escape to the mountain cabin represents the peak of this tension, leading to the climactic confrontation, interrogation, and eventual tragedy.

Rasoulof’s ability to create suspense and tension is evident throughout the film. His visual approach is grounded in a cold, documentary-like realism that effectively captures the characters’ psychological turmoil. This understated method proves highly effective, allowing the film’s political and familial themes to resonate deeply.

Conclusion
The Seed of the Sacred Fig is a powerful exploration of the destructive impact of authoritarian regimes on both society and family. Through its gripping narrative and masterful direction, the film offers a profound critique of oppression while showcasing Rasoulof’s exceptional talent as a filmmaker.

4. The Girl With the Needle(Denmark)

Production Companies: Nordisk Film Denmark, Lava Films, Nordisk Film Sweden, Film i Väst, EC1 Łódź, Lower Silesia Film Centre
Producers: Vic Carmen Sonne, Trine Dyrholm, Besir Zeciri, Joachim Fjelstrup, Tessa Hoder, Avo Knox Martin
Director: Magnus von Horn
Starring: Vic Carmen Sonne, Trine Dyrholm
Distributor: MUBI
Release Date: December 6, 2024

The film premiered in the main competition at the 77th Cannes Film Festival on May 15, 2024, receiving widespread critical acclaim. It was named one of the top five international films of 2024 by the National Board of Review and earned nominations for Best Foreign Language Film at the 82nd Golden Globe Awards and Best International Feature Film at the 97th Academy Awards. It holds a 93% rating on Rotten Tomatoes.

Director: Magnus von Horn
Born in December 1983 in Gothenburg, Sweden, Magnus von Horn graduated from the National Film School in Łódź, Poland. His filmography includes:

The Here After(2015): His debut feature, which follows a young man struggling to reintegrate into society after serving time for a crime. The film premiered at the 2015 Cannes Film Festival’s Directors’ Fortnight and was praised as one of the most unsettling and thought-provoking European films of the year.
Sweat(2020): This film focuses on the life of a social media fitness influencer, exploring themes of fame, loneliness, and human fragility in the digital age. It was selected for the 2020 Cannes Film Festival and won awards at the Chicago International Film Festival, solidifying von Horn’s reputation in European cinema.

Style and Influences
Von Horn’s films are characterized by their cold, realistic cinematography and deep psychological exploration of characters. He often focuses on marginalized individuals, depicting their psychological trauma and moral dilemmas. His deliberate pacing and skillful use of camera work create a tense atmosphere, establishing him as one of Europe’s most talented and unique emerging directors.

The Girl With the Needle (2024)
Loosely based on the true story of Danish serial killer Dagmar Overbye, the film is set in 1919 Copenhagen. It follows Karoline, a young factory worker whose husband is declared dead after going missing in World War I, leaving her financially destitute. Karoline has an affair with her boss, Jørgen (played by Joachim Fjelstrup), and becomes pregnant. However, Jørgen’s mother opposes their marriage, leaving Karoline in a desperate situation.

In her despair, Karoline encounters Dagmar (played by Trine Dyrholm), who runs a candy store while secretly operating an illegal adoption service, helping impoverished mothers find homes for their babies. Karoline begins working for Dagmar as a wet nurse but gradually discovers Dagmar’s true intentions: she is murdering the infants. The film concludes with Dagmar’s arrest, trial, and eventual execution.

Von Horn chose to shoot the film in black and white, using close-ups and long takes to blend historical facts with fictional elements, immersing viewers in the dark history of early 20th-century Copenhagen. The film explores the physical and psychological scars of war (such as Karoline’s husband, who suffers severe facial injuries and must wear a mask) and delves into society’s neglect of vulnerable groups and the complexities of human nature in extreme circumstances. It is not only a film about historical crimes but also a reflection on social morality and the depths of humanity, reminding audiences of forgotten tragedies and societal responsibilities.

Key Scene
A standout sequence in the film involves Karoline following Dagmar as she delivers a baby. Von Horn employs tracking shots, POV shots, long takes, and close-ups to vividly convey Karoline’s tension, discovery, shock, and horror, making it a cinematic masterpiece.

Music and Atmosphere
The film’s eerie and unsettling score enhances its cold and terrifying atmosphere, leaving a lasting impression on viewers.

Conclusion
The Girl With the Needle is a haunting exploration of historical crimes, societal neglect, and the moral complexities of human behavior. Through its meticulous direction, powerful performances, and atmospheric storytelling, the film cements Magnus von Horn’s status as one of Europe’s most compelling contemporary filmmakers.

Flow(Lithuania)
Production Companies: Dream Well Studio, Sacrebleu Productions, Take Five
Producers: Matīss Kaža, Gints Zilbalodis, Ron Dyens, Gregory Zalcman
Distributor: Sideshow and Janus Films
Release Date: October 30, 2024

Director, Cinematographer, Editor, Composer (co-composer): Gints Zilbalodis

In 2024, Flow (original title: Flow) made waves in the international film scene. This 80-minute dialogue-free animated film tells the story of a small black cat drifting alone on a desolate Earth after a catastrophic flood. It deeply moved audiences and critics alike, earning universal acclaim. Remarkably, the film was created by a 30-year-old independent Lithuanian animator, director, writer, cinematographer, and musician, Gints Zilbalodis, making it nothing short of a miracle.

About Gints Zilbalodis
Born on April 13, 1994, in Riga, Lithuania, Zilbalodis comes from an artistic family—his mother is a painter, and his father is a sculptor. With no animation schools in Latvia, he developed a strong interest in filmmaking and taught himself animation, sound design, and music composition.

Short Films
Early in his career, Zilbalodis created several short films, including:

Rush (2010)
Aqua (2012)
Prioritātes (2014)
Followers (2015)
Inaudible (2015)
Oasis (2017)

Feature Films

Away(2019): His debut feature-length animated film, which follows a boy and a small bird navigating a strange island to find their way home. Zilbalodis independently wrote, directed, animated, and composed the music for the film. It won the Contrechamp Award at the Annecy International Animated Film Festival and was nominated for an Annie Award for Best Music.
Flow(2024): Premiered in the Un Certain Regard section at the 77th Cannes Film Festival, marking Zilbalodis’s first collaboration with other producers. The animation was co-produced by France’s Sacrebleu Productions and Belgium’s Take Five. The film won numerous global awards, including Best Animated Feature at the 82nd Golden Globe Awards, and was nominated for Best International Feature Film and Best Animated Feature at the 97th Academy Awards, making it the first Latvian film to receive multiple Oscar nominations. It holds a 97% rating on Rotten Tomatoes and grossed $20 million worldwide against a production budget of €35,000.

Synopsis
After a flood destroys its home, a black cat boards a small boat and embarks on an extraordinary journey. Along the way, it encounters a capybara, a dog, a ring-tailed lemur, and a secretary bird. Although they cannot communicate through language, they gradually learn to cooperate and coexist as they face turbulent seas and numerous challenges together.

Animation and Style
Zilbalodis used Blender for 3D animation, immersing the camera in the environment with continuous movement. The film relies on environmental sounds (such as water, wind, and animal calls) and a haunting score to enhance the atmosphere, allowing viewers to experience the cat’s curiosity, cleverness, kindness, and willingness to help other animals. This unique approach creates an unprecedented sense of intimacy and immersion for the audience.

Flow is a testament to Gints Zilbalodis’s extraordinary talent and vision, blending stunning visuals, emotional depth, and innovative storytelling to create a cinematic masterpiece that resonates globally.

Prediction for Best International Film:

Emilia Pérez

Part 1 of this article is at this link.