2025 Oscar Predictions for Best Picture – part 1

 

2025 Oscar Predictions for Best Picture  – Part 1

Including Best International Feature Film Prediction

By An Jingfu

The annual Academy Awards began voting on February 11 this year, with 10,084 members of the Academy of Motion Picture Arts and Sciences participating in the selection. The winners will be announced on March 2, with 24 awards presented to honor individuals and works that have achieved outstanding accomplishments in the art and technology of filmmaking over the past year. Among these, the 10 nominees for Best Picture have, as always, garnered significant attention. This award aims to recognize producers, directors, and their creative teams who demonstrate vision, courage, and resources, combining perfect and innovative forms to present thought-provoking themes. These films celebrate the pursuit of truth, goodness, beauty, equality, justice, truth, and peace by characters in complex relationships and dilemmas, while also satirizing, exposing, and criticizing falsehood, evil, and ugliness. Many of the nominated films feature directors, screenwriters, and actors who also serve as producers, indicating that the nominations and awards are a recognition of their collective efforts, as well as those of the behind-the-scenes teams.

This year’s 10 nominated films cover a diverse range of themes:

  • Anora: The struggles of a contemporary stripper striving for happiness.
  • The Brutalist: The hardships of a Hungarian immigrant architect in post-World War II America.
  • Conclave: A Catholic leader grappling with a crisis of faith while overseeing the election of a new pope.
  • A Complete Unknown: Bob Dylan’s journey of perseverance in pursuing his unique style.
  • Dune: Part Two: A duke’s son seeking revenge, embracing the role of a prophet to avenge his father.
  • Emilia Perez: A drug lord’s dream of becoming a gentle woman while helping families find the bodies of loved ones lost in the drug war.
  • I Am Still Here: A housewife’s relentless pursuit of justice for her husband, who was secretly executed by Brazil’s military dictatorship.
  • Nickel Boys: Two Black boys enduring inhumane treatment at a reform school and their courageous escape.
  • The Substance: An aging actress’s terrifying experience with a special drug in an attempt to regain her youth.
  • Wicked: A highly anticipated fantasy musical film that challenges societal norms, dictatorship, and upholds self-identity and justice.

Characters: The Core of Film
At its heart, film is about telling human stories, and characters are the central vehicle for a work’s meaning and themes. Across these nominated films, the characters’ circumstances, complex personalities, inner conflicts, sense of justice, and strong will deeply resonate with audiences, earning their empathy and praise. Films like Anora, The Brutalist, Conclave, Emilia Perez, A Complete Unknown, Dune: Part Two, I Am Still Here, Nickel Boys, and Wicked all feature captivating character portrayals.

The Charm of Narrative Art
Film is a narrative art form that blends visual and auditory elements, requiring compelling character development, complex relationships, internal and external conflicts, and carefully crafted situations, tension, and suspense. Films must drive character fates and plot development through continuous discoveries—whether positive or negative, significant or decisive—such as hooks, twists, surprises, and climaxes. In terms of narrative structure and character portrayal, Anora, Conclave, Dune: Part Two, Emilia Perez, The Substance, and Wicked stand out particularly well.

Innovation: The Soul of Cinema
Like other art forms, film requires innovation. Innovative works often resonate more with Academy members, as seen with Nomadland and Everything Everywhere All at Once. Among this year’s 10 nominees, Nickel Boys, Emilia Perez, and The Substance present important themes and content through fresh and powerful forms, reaching new artistic heights and earning widespread acclaim.

Next, based on collected information and materials, I will provide a detailed introduction and evaluation of the artistic achievements of these films.

 

1.  Anora

 

Production Company: FilmNation Entertainment
Producers: Alex Coco, Samantha Quan (Sean Baker’s wife), Sean Baker
Director: Sean Baker
Cast: Mikey Madison, Yura Borisov, Karren Karagulian
Premiere: May 21, 2024, at the Cannes Film Festival, where director Sean Baker won the Palme d’Or. This marks the first time an American director has won this prestigious award since Terrence Malick in 2011.
Distribution: Neon acquired the U.S. distribution rights and released the film on October 18, 2024. To date, the film has grossed 37million at the box office against a production budget of 6 million.
Critical Reception: The film has received widespread acclaim, with a Rotten Tomatoes score of 94%. It has earned six Oscar nominations: Best Picture, Best Original Screenplay, Best Director, Best Film Editing, Best Actress, and Best Supporting Actor. Additionally, Sean Baker won the Directors Guild of America (DGA) Award for Best Director and the Producers Guild of America (PGA) Award for Best Picture on February 11. These two major awards have positioned Anora as the frontrunner for the Oscar for Best Picture.

In 2024, Oppenheimer and its director Christopher Nolan won these two guild awards before sweeping the Oscars for Best Picture and Best Director. Similarly, in 2023, Everything Everywhere All at Once and its directors Daniel Kwan and Daniel Scheinert won both guild awards and went on to win the Oscars for Best Picture and Best Director.

Reasons for Success:

  1. Localization and Emotional Resonance: The story of marginalized yet sympathetic characters in America (Anora and Igor) resonates deeply. Anora’s sincere pursuit of happiness and her struggle against those who hinder her, combined with Igor’s kindness and empathy for Anora, make the characters unforgettable. The film highlights the protagonists’ resilience and goodness by contrasting them with the cowardice, betrayal, and bully of others.
  2. Director’s Unique Style: Writer-director Sean Baker’s profound empathy for his characters, nuanced storytelling, and distinctive narrative style have captivated audiences. He excels at portraying the lives and struggles of marginalized communities through authentic and compelling stories.
  3. Breakthrough for Low-Budget Independent Films: As a low-budget indie film, Anora has achieved both commercial success and critical acclaim, proving that the essence of cinema lies in storytelling and character development, not in budget size.

Anora’s success lies in its deep emotional resonance, unique narrative style, and authentic portrayal of marginalized individuals. Sean Baker has once again demonstrated his directorial talent with this film, setting a new benchmark for low-budget independent cinema. The film is not only a high artistic achievement but also a thought-provoking masterpiece that resonates with audiences.

Biography and Creative Journey of Writer-Director Sean Baker

Early Life
Sean Baker was born in 1971 in New Jersey, USA. From a young age, he was passionate about filmmaking, particularly creating home videos. After graduating high school in 1989, he studied film making and editing at New York University (NYU). Although he was supposed to earn his BFA degree in 1992, he did not officially complete his studies until 1998 due to various reasons. During this time, he gained practical experience by producing industrial films and commercials.

Early Works: Focusing on Marginalized Communities
Starting in 2000, Sean Baker began writing, directing, shooting, and editing low-budget independent films, focusing on the lives of society’s underclass and marginalized individuals, uncovering their unique personalities and beauty. His early works include:

  • Four Letter Words (2000): Depicts the lives of four young people.
  • Take Out (2004): Tells the story of a Chinese immigrant delivery worker in New York.
  • Prince of Broadway (2008): Focuses on a Guatemalan immigrant selling discounted goods on Broadway.
  • Starlet (2012): Portrays a cross-generational friendship between an 85-year-old woman and a 21-year-old girl in California.
  • Tangerine (2015): Follows a transgender sex worker who discovers her pimp boyfriend has been cheating on her. Shot on an iPhone 5s, the film premiered at the Sundance Film Festival to critical acclaim, earning a 96% Rotten Tomatoes score.

Breakthrough: The Florida Project
In 2016, Sean Baker directed The Florida Project, which tells the story of a young mother struggling to pay rent at a motel near Disney World in Orlando, her 6-year-old daughter, and the sympathetic motel manager. The film was selected for the 2017 Cannes Film Festival’s Directors’ Fortnight and was acquired by A24 for distribution, released in the U.S. in October 2017. This was Sean Baker’s first commercially distributed film to gain widespread attention, and it was listed as one of the top 10 films of the year by the National Board of Review and the American Film Institute. Brooklynn Prince, who played the 6-year-old girl, won the Critics’ Choice Award for Best Young Actor, while Willem Dafoe, who played the motel manager, received Oscar and Golden Globe nominations for Best Supporting Actor.

Artistic Achievements and Industry Recognition
In 2018, Sean Baker was invited to join the Directors and Writers branches of the Academy of Motion Picture Arts and Sciences (AMPAS), further solidifying his status in the industry.

Further Maturity: Red Rocket
In 2021, Sean Baker co-wrote the script for Red Rocket with Chris Bergoch and served as the sole director and editor. The film follows an unemployed middle-aged porn actor who returns to a rundown Texas town and becomes entangled with his ex-wife, friends, and a young girlfriend. Set against the backdrop of a 24-hour oil refinery, the story gains a unique freshness and emotional depth. Baker also skillfully incorporates the raw, awkward, and absurd humor of the characters, such as the protagonist’s relationship with his young girlfriend and a scene where he is chased by drug dealers while naked. The film premiered at the 2021 Cannes Film Festival to a standing ovation and was released in the U.S. by A24 in December 2021. Although it did not achieve the same level of success as The Florida Project, its themes, characters, and narrative demonstrated Sean Baker’s maturity and innovation, laying the artistic and financial groundwork for Anora.

The Creative Background of Anora
Sean Baker has deep ties to the Armenian-American community in New York, including his friend Karren Karagulian, who plays Ivan’s godfather Toros in Anora, and renowned Armenian comedian Vache Tovmasyan. Baker had long wanted to make a film related to the Armenian community. When he heard about a story of a Russian-American newlywed couple kidnapped for ransom, he used it as inspiration for Anora. The film focuses on a stripper named Ani and her relentless pursuit of happiness, while also depicting the sympathizers, betrayers, and bullies she encounters along the way, including a cowardly Russian playboy, his domineering oil tycoon parents, and their Armenian godfather and his incompetent henchmen.

Conclusion
Sean Baker has become one of the leading figures in contemporary independent cinema, known for his deep empathy and unique perspective on marginalized communities. His works not only portray the real lives of society’s underclass but also infuse stories with humor and absurdity, giving them a distinctive charm. The success of Anora is a culmination of his artistic achievements and humanistic concerns, solidifying his place in film history.

Narrative Structure and Artistic Achievements of Anora

Film Length and Structure
Anora runs for 139 minutes, with a 138-page script and 184 scenes. The film showcases director Sean Baker’s profound empathy for marginalized characters and his artistic expression through its masterful narrative structure and nuanced emotional portrayal.

Act 1: Character Development and Story Setup (0:00-0:40)
The first 40 minutes meticulously establish the character of Ani, a professional, tough, and highly vigilant stripper. However, her guard gradually lowers as she interacts with Ivan, a seemingly naive thrill-seeker. She even agrees to his marriage proposal and begins to dream of a better future. This extended setup, while lengthy, is tightly focused and never feels redundant. It not only reveals Ani’s personality and motivations but also lays the groundwork for her subsequent rebellion and awakening. This section foreshadows Ani’s character arc, guiding the audience through her transformation from dependence to independence.

Act 2: Conflict and Development (0:40-2:00)
From the 40-minute mark to the 120-minute mark, the film enters its conflict and development phase. When Ivan’s parents learn of his marriage to Ani, they blame Toros (Ivan’s godfather). Fearing the loss of his financial backers, Toros sends his henchmen, Gamik and Igor, to Ivan’s residence to forcibly annul the marriage. Ivan flees, while Ani injures Gamik’s nose during the struggle—a detail that is cleverly turned into a recurring comedic element, with Gamik’s nose issues persisting until the 1:55 mark, becoming a major source of humor in the film.

Igor, a kind-hearted henchman of Toros, is reluctant to harm Ani and only restrains her. As the story progresses, his sympathy for Ani deepens, and he even suggests that Ivan’s parents apologize to her. This subplot, developed progressively like a secondary theme in a symphony, becomes one of the film’s key elements. Igor’s character is particularly well-crafted, and Russian actor Yuriy Borisov’s portrayal earned him an Oscar nomination for Best Supporting Actor.

Act 3: Emotional Climax and Resolution (2:00-2:16)
The third act, from the 2-hour mark to the 2:16 mark when the credits roll, serves as the emotional climax and essence of the film. After the marriage is annulled, Igor is tasked with accompanying Ani back to New York. On the plane, he covers the sleeping Ani with his jacket, a subtle gesture that hints at the evolving dynamic between them. Back in New York, the two share a cigarette and casual conversation on the living room sofa, gradually dissolving their hostility. Igor explains that he restrained Ani to calm her down and prevent her from harming herself. Ani fetches a blanket for Igor, further bridging the emotional gap between them.

In a poignant farewell scene (shot on a snowy day, which Baker specifically waited for), Igor escorts Ani home after withdrawing her payment from the bank. Inside the car, their emotional bond reaches its peak. Igor returns the wedding ring that Toros had forcibly taken from Ani, symbolizing closure. He then exits the car, retrieves Ani’s luggage, and carries it to her doorstep before returning to the vehicle. Ani watches this unfold from the car, with the snowy backdrop and a single shot (Ani in the foreground, Igor in the background ascending and descending the stairs) perfectly capturing the emotional tension.

Back in the car, after a heartless talk , the two share a moment of eye contact. Ani removes her top, pulls down her pants, and straddles Igor, using her professional skills to express gratitude. Moved, Igor attempts to kiss her but is rejected and struck by Ani. Finally, Ani breaks down in tears in Igor’s arms, and he holds her tightly. This wordless scene speaks volumes, conveying Ani’s pain and Igor’s empathy. The film ends with a black screen, accompanied only by the hum of the car engine in the snow, marking one of the most beautiful endings in cinematic history.

Directorial Techniques and Artistic Style
Sean Baker’s directorial approach is rooted in realism, emphasizing the natural presentation of characters, settings, and plot without excessive staging or forced montage techniques. He employs various camera techniques as needed by the story. His long takes and tracking shots, used to establish environments, atmospheres, and follow character expressions, are effective yet unobtrusive. For example, the opening scene’s lateral tracking shot combined with close-ups not only provides environmental context but also foreshadows future events.

Conclusion and Outlook
Since 2000, Sean Baker has combined documentary-style realism with elements of character-driven comedy to focus on marginalized individuals in America, exploring their needs, aspirations, and struggles. His works have earned recognition both domestically and internationally, setting a new standard for independent cinema. The success of Anora once again demonstrates Baker’s artistic talent and humanistic concern. It is hoped that the film will win multiple awards at the 2025 Oscars, adding another glorious chapter to Sean Baker’s career.

 

2. The Brutalist

 

Production Companies: Brook Street Pictures, Kaplan Morrison Productions
Producers: Trevor Matthews, Nick Goron, Brian Young, Andrew Morrison, Andrew Luren, D.J. Gugenheim, and Brandy Corbet
Director: Brady Corbet
Cast: Adrien Brody, Felicity Jones, Guy Pearce

Premiere and Distribution:
The film premiered on September 1 at the Venice Film Festival, where director Brady Corbet won the Best Director award. A24 acquired the distribution rights and released the film in the U.S. on December 24. With a production budget of 9.6million ,the film grossed 25.2 million at the box office.

Critical Reception and Awards:
The Brutalist received widespread acclaim, earning a 93% score on Rotten Tomatoes. It won three Golden Globe Awards in 2025: Best Picture, Best Director, and Best Actor. Additionally, it received 10 Oscar nominations, including Best Picture, Best Screenplay, Best Director, Best Actor, Best Cinematography, Best Supporting Acttor, Best Supporting Actress, Best Original Score, Best Production Design, and Best Film Editing.

Film Length and Structure:
The film runs for 3 hours and 35 minutes, including a 15-minute intermission. It is neither a war film nor a historical biopic but rather the story of a Hungarian Jewish architect and Holocaust survivor who leaves his wife to seek a new life and career in America. Despite his talent, he faces numerous hardships, including being raped by his jealous employer, an industrialist. Through the story of László Tóth and his family, the film reflects a part of modern American immigration history, focusing on the struggles and sacrifices of a talented immigrant architect.

Creative Inspiration:
Both Corbet and his partner, Norwegian director Mona Fastvold, come from families with architect relatives. When planning his third film, Corbet envisioned an epic story that intertwined architecture, immigration, and personal struggles. The film revolves around the fictional Hungarian immigrant architect László Tóth, who is discovered by a wealthy, vain industrialist named Van Buren. Tóth is hired to design and build a community center named after Van Buren’s late mother on a picturesque hill in Pennsylvania. The project undergoes numerous challenges, from conception to construction, and is marked by accidents, setbacks, and eventual revival. However, Tóth’s dream is shattered when he is raped by Van Buren, leading to profound psychological trauma. His wife, Erzsébet, bravely confronts Van Buren in front of his family and guests, condemning his hypocrisy and brutality.

Screenplay and Production:
The screenplay, co-written by Brady Corbet and Mona Fastvold, underwent multiple revisions and even included detailed camera designs. The filmmakers believed that the extended runtime was necessary to fully convey the characters’ fates, the story, and its themes. The project was backed by investor Kaplan Morrison, who funded the $10 million production. The film’s visual impact is largely attributed to its exceptional cinematography and production design.

Director’s Background:
Brady Corbet, born in 1988 in Scottsdale, Arizona, began his career as a child actor at the age of 11, also lending his voice to animated films. He transitioned to directing in 2013. His debut film, The Child of a Leader (2015), adapted from a Jean-Paul Sartre novella, premiered at the Venice Film Festival and won the “Lion of the Future” and “Horizons” Best Director awards. Despite critical acclaim (93% on Rotten Tomatoes), it performed poorly at the box office. His second film, Vox Lux (2018), starring Natalie Portman and Jude Law, received mixed reviews (63% on Rotten Tomatoes) and was a box office failure, grossing only 1.4million against 10 million budget. These early works laid the groundwork for The Brutalist, which has achieved both critical and commercial success.

Character Development and Performances:

  • László Tóth (Adrien Brody): Brody’s portrayal of László is deeply compelling, earning him a Golden Globe for Best Actor. His character’s journey—marked by suffering, dreams, love, family, setbacks, courage, and sacrifice—resonates strongly with audiences. A pivotal moment occurs when, after being raped, László lashes out at everyone and confides in his wife, “People here don’t want us. Attila’s Catholic wife doesn’t want us. We are nothing, worse than nothing.” This emotional outburst becomes the film’s climax, moving audiences to tears and leading them through a cathartic experience.
  • Erzsébet Tóth (Felicity Jones): Erzsébet, László’s wife, is a crucial emotional anchor. Initially absent but present through  letters, she arrives later to provide emotional support. Her courageous confrontation of Van Buren is a standout moment, earning Jones an Oscar for Best Supporting Actress.
  • Van Buren (Guy Pearce): As László’s employer, Van Buren embodies entitlement and jealousy. His lack of respect for László culminates in a brutal act of violence. Pearce’s nuanced performance earned him an Oscar for Best Supporting Actor.

Cinematography and Visual Design:
The film’s visual grandeur is achieved through 35mm VistaVison cinematography, which preserves the integrity of landscapes and architectural designs. Key sequences, such as the Italian marble quarry scene, are masterfully crafted. The quarry’s beauty symbolizes László’s own artistic vision, while the subsequent rape scene is shot in a single, unflinching 3-minute 23-second take ending in big full shot and leaving viewers in stunned silence.

Themes and Symbolism:
The film explores themes of immigration, artistic struggle, and resilience. Some interpret the Brutalist architecture’s massive scale as a metaphor for the film’s epic runtime, while others see László as a reflection of Corbet himself—a creator striving to realize his vision against all odds.

Conclusion:
The Brutalist is a triumph of storytelling, character development, and visual artistry. Brady Corbet’s direction, combined with stellar performances and meticulous craftsmanship, has created a film that resonates deeply with audiences and critics alike. Its success at the 2025 Oscars would be a fitting recognition of Corbet’s vision and the collaborative efforts of the entire team.

 

3. A Complete Unknown

 

Production Companies: Searchlight Pictures, Veritas Entertainment Group, White Water, Range Media Partners, The Picture Company, Turnpike Films
Producers: Peter Jaysen, James Mangold, Alex Heineman, Bob Bookman, Alan Gasmer, Jeff Rosen, Timothée Chalamet, Berger Berger
Director: James Mangold
Cast: Timothée Chalamet, Monica Barbaro, Elle Fanning, Edward Norton

Release and Box Office:
Searchlight Pictures released A Complete Unknown in the U.S. on December 19, 2024. The film grossed $100 million at the box office with a production budget estimated between $50 million to $70 million.

Critical Reception and Awards:
The film received widespread acclaim, earning an 83% score on Rotten Tomatoes. It garnered eight Oscar nominations, including Best Picture, Best Adapted Screenplay, Best Director, Best Actor (Timothée Chalamet), Best Supporting Actress (Elle Fanning), Best Supporting Actor (Edward Norton), Best Sound, and Best Costume Design.

Screenplay and Direction:
The screenplay, co-written by James Mangold and Jay Cocks, is adapted from the 2015 book Dylan Goes Electric! Mangold also served as one of the film’s producers.

Director’s Background:
James Mangold was born in 1963 in New York City. After graduating from high school, he studied film and video production at the California Institute of the Arts (CalArts) and later pursued a master’s degree at Columbia University’s Film School under the mentorship of renowned director Miloš Forman. Mangold’s debut feature, Heavy (1995), premiered at the Sundance Film Festival. Over the years, he has directed a mix of critically acclaimed dramas and blockbuster hits, including Cop Land (1997), Girl, Interrupted (1999), Kate & Leopold (2001), Identity (2003), and Walk the Line (2005). Walk the Line, a biopic about Johnny Cash, earned five Oscar nominations, with Reese Witherspoon winning Best Actress for her portrayal of June Carter Cash.

Mangold’s versatility is evident in his work on the Western 3:10 to Yuma (2007), the superhero films The Wolverine (2013) and Logan (2017), and the racing drama Ford v Ferrari (2019). Logan was particularly groundbreaking, becoming the first live-action superhero film to receive an Oscar nomination for Best Adapted Screenplay. Ford v Ferrari won two Oscars for Best Film Editing and Best Sound Editing.

Film Overview:
A Complete Unknown is a biopic about the legendary American singer-songwriter and Nobel Prize winner Bob Dylan, focusing on his early career and personal life in 1960 when he moved to New York at the age of 19. The film explores Dylan’s rise in the folk music scene, his controversial shift to electric instruments, his romantic and artistic relationship with folk singer Joan Baez, and his love story with his girlfriend. These elements form a classic tale of American cultural icons.

Performances:

  • Timothée Chalamet as Bob Dylan: Chalamet delivers a nuanced performance, capturing Dylan’s charisma, ambition, and artistic struggles. His portrayal earned him an Oscar nomination for Best Actor and a SAG Best Actor. He spent over 5 year to lean singing and guitar playing. All  the songs in the film are sung by himself.
  • Monica Barbaro as Joan Baez: Monica ’s portrayal of Baez is both tender and powerful, showcasing her musical talent and emotional depth. Her performance earned her an Oscar nomination for Best Supporting Actress.
  • Edward Norton as Pete Seeger: Norton’s portrayal of the folk legend is understated yet impactful, embodying Seeger’s warmth and mentorship. His performance stands out as a departure from his previous roles.

Narrative Structure:
The film’s main storyline follows Dylan’s musical journey, from his humble beginnings to his groundbreaking success and the controversy surrounding his electric transition. A secondary plotline focuses on the emotional conflicts between Dylan, his girlfriend, and Joan Baez. The two narrative threads are seamlessly interwoven, creating a rich and engaging story.

Directorial Style:
Mangold’s direction in A Complete Unknown is understated and focused on character development. His camera work is simple and unpretentious, effectively capturing the nuanced emotions of the characters. Whether depicting intimate songwriting sessions, live performances, or outdoor concerts, Mangold’s camera  is both authentic and visually compelling. A standout scene involves Dylan’s girlfriend witnessing the soulful connection between Dylan and Baez during a performance, leading to a tearful departure—a poignant moment that serves as the emotional climax of the subplot.

Themes and Impact:
The film delves into themes of artistic innovation, personal identity, and the cost of fame. Dylan’s journey reflects the broader cultural shifts of the 1960s, making A Complete Unknown not just a biopic but a snapshot of an era. Mangold’s ability to balance the personal and the historical, combined with stellar performances and meticulous attention to detail, makes the film a compelling tribute to one of music’s most iconic figures.

Conclusion:
A Complete Unknown is a testament to James Mangold’s versatility as a filmmaker, seamlessly blending art-house sensibilities with mainstream appeal. With its strong performances, evocative storytelling, and rich historical context, the film stands as a significant entry in the biopic genre and a fitting homage to Bob Dylan’s enduring legacy.

 

4. Conclave

Production Companies: FilmNation Entertainment, House Productions (co-production), with investment from Indian Paintbrush
Producers: Tessa Ross, Juliette Howell, Michale Jackman, Alice Dawson, Robert Harris
Director: Edward Berger
Cast: Ralph Fiennes, Stanley Tucci, John Lithgow, Isabella Rossellini

Premiere and Distribution:
Conclave premiered at the Telluride Film Festival on August 30, 2024, where it immediately garnered widespread acclaim and became a festival highlight. Focus Features released the film in the U.S. on October 25, where it was met with critical and audience praise, earning a 93% score on Rotten Tomatoes. With a production budget of 20million and the 92 million worldwide and received eight Oscar nominations, including Best Picture, Best Adapted Screenplay, Best Actor (Ralph Fiennes), Best Supporting Actress (Isabella Rossellini), Best Film Editing, Best Original Score, Best Production Design, and Best Costume Design.

Production Background:
The primary production company, House Productions, was founded in 2016 by Tessa Ross and Juliette Howell, who serve as co-CEOs. This marks their first Oscar-nominated project. Prior to Conclave, they produced The Iron Claw, The Zone of Interest (2023), and the BBC series Sherwood. Even before the company’s official launch, Ross and Howell were captivated by the early chapters of Robert Harris’s novel Conclave and secured the film rights. Their extensive producing experience—Ross previously headed Film4 and produced Slumdog Millionaire, 12 Years a Slave, and Under the Skin, while Howell produced TV series like Bird Song, Mary and Martha, The Borrowers, and London Spy—helped them secure the project.

Screenplay and Direction:
British screenwriter Peter Straughan (Frank, 2014) was hired to adapt the novel. German director Edward Berger, known for his Oscar-winning All Quiet on the Western Front (2022), was brought on board. Berger, born in 1970 in Saxony, Germany, to a Swiss mother and Austrian father, identifies as a “European filmmaker.” After studying film at the Braunschweig University of Art and New York University, he gained early experience at Good Machine, working on projects by Ang Lee, Todd Haynes, and Edward Burns. Berger’s previous works, such as Jack (2014) and All My Love (2019), showcased his talent for character-driven storytelling.

Film Overview:
Conclave centers on the election of a new pope following the death of a reformist pontiff. The story explores the tension between progressive and conservative factions within the Catholic Church, as Cardinal Thomas Laurence (Ralph Fiennes) navigates a web of secrets, scandals, and power struggles to ensure the election of a pope who will continue the reforms. The film is a gripping political and spiritual drama, filled with suspense and moral complexity.

Narrative Structure:
The film’s narrative is tightly woven, with each scene building tension and revealing new layers of intrigue. Key plot points include:

  • The mysterious dismissal of Canadian Cardinal Tremblay by the late pope.
  • The secret appointment of Cardinal Benitez as the bishop of Afghanistan.
  • The discovery of scandals involving candidates, such as Adeyemi’s hidden child with a nun.
  • The dramatic revelation of Tremblay’s bribery, which leads to his downfall.
  • The climactic bombing of the Sistine Chapel and the election of Benitez as the new pope.

Character Development:

  • Cardinal Thomas Laurence (Ralph Fiennes): The film’s protagonist, Laurence is a deeply conflicted yet principled leader. Despite his own crisis of faith, he guides the conclave with wisdom and integrity. Fiennes’s performance is a masterclass in subtlety and depth, earning him an Oscar nomination for Best Actor.
  • Cardinal Benitez (Stanley Tucci): A progressive and compassionate figure, Benitez’s election as pope represents hope for reform. His revelation of being intersex adds a profound layer to his character, challenging the Church’s notions of identity and acceptance.
  • Cardinal Adeyemi (John Lithgow): A conservative candidate whose hypocrisy is exposed, Adeyemi’s downfall is a pivotal moment in the film.
  • Sister Shanumi and Mother Agnes (Isabella Rossellini): These characters play crucial roles in uncovering the truth about Adeyemi, with Rossellini’s performance earning her an Oscar nomination for Best Supporting Actress.

Themes and Symbolism:
Conclave explores themes of faith, power, corruption, and reform. The election process serves as a microcosm of broader societal struggles between progress and tradition. The film also delves into issues of identity and acceptance, particularly through Benitez’s intersex revelation, which challenges the Church’s rigid norms.

Directorial Style:
Edward Berger’s direction is both meticulous and evocative. He captures the solemnity and grandeur of the Vatican while maintaining an intimate focus on the characters. His use of close-ups, montage, and sound design creates a palpable sense of tension and urgency. Key scenes, such as the bombing of the Sistine Chapel and Thomas’s discovery of Tremblay’s bribery, are masterfully executed, blending visual and auditory elements to heighten the drama.

Standout Sequences:

  • Thomas Entering the Pope’s Bedroom: A masterful combination of visuals and sound, this scene is a highlight of the film.
  • The Bombing of the Sistine Chapel: The juxtaposition of the voting process with the explosion creates intense dramatic tension.
  • The Sealing of the Pope’s Office and Bedroom: Berger uses visual storytelling to convey the weight of secrecy and power.
  • Thomas on the Balcony: The shot of Thomas watching the cardinals approach in the rain is both visually stunning and symbolically rich.

Conclusion:
Conclave is a rare film that seamlessly intertwines character-driven drama with high-stakes political intrigue. Edward Berger’s direction, combined with stellar performances and a tightly crafted script, makes it a standout entry in the genre. The film’s exploration of faith, power, and identity resonates deeply, offering both a compelling narrative and a profound meditation on the human condition. Berger’s work here is a testament to his skill as a filmmaker, fully deserving of the accolades and nominations it has received.

 

5. Dune: Part Two (2024) 

 

  • Production Company: Legendary Pictures
  • Producers: Mary Parent, Cate Boyter, Patrick McCormick, Tanya Lapointe, Denis Villeneuve
  • Director: Denis Villeneuve
  • Starring: Timothée Chalamet, Zendaya, Rebecca Ferguson, Javier Bardem, Austin Butler
  • Distributor: Warner Bros. Pictures
  • Release Date: March 1, 2024 (USA)
  • Box Office: $714 million
  • Production Budget: $190 million
  • Reception: The film received widespread critical acclaim, achieving a 92% rating on Rotten Tomatoes (compared to the 83% rating of Dune).

Denis Villeneuve: A Brief Biography

Denis Villeneuve was born in 1967 in Quebec, Canada. After graduating high school, he studied at The Séminaire Saint-Joseph de Trois-Rivières, then pursued a science degree at Cégep de Trois-Rivières. Later, he transferred to Université du Québec à Montréal, where he began studying filmmaking.

His directorial debut was the 1998 film August 32nd on Earth, which premiered in the “Un Certain Regard” section at the Cannes Film Festival. It was selected as Canada’s entry for Best Foreign Language Film at the 71st Academy Awards but did not receive a nomination.

His second feature, Maelström (2000), was a surreal psychological drama about a woman who meets a mysterious man after a car accident. The film won multiple awards, including eight Jutra Awards and the Best Canadian Feature Film award at the Toronto International Film Festival.

In 2009, Villeneuve directed Polytechnique, a black-and-white film based on the 1989 Montreal Massacre. The film premiered at Cannes and won numerous accolades, including nine Genie Awards (now known as the Canadian Screen Awards), marking his first win for Best Picture.

Rise to Prominence

His fourth feature, Incendies (2010), followed a pair of Canadian twins uncovering their mother’s secret past amid the violence of the Levant. The film was a critical success at the Venice and Toronto International Film Festivals and was nominated for Best Foreign Language Film at the 83rd Academy Awards. It also won eight Independent Spirit Awards and was named one of The New York Times’ top 10 films of the year.

In 2013, Villeneuve transitioned to English-language films with Prisoners, starring Hugh Jackman and Jake Gyllenhaal. The crime thriller was a commercial and critical success, earning an Oscar nomination for Best Cinematography.

In 2014, he directed Enemy, a psychological thriller starring Jake Gyllenhaal as a professor who discovers his doppelgänger. The film won Best Director at the Canadian Screen Awards and was named Best Canadian Film of the Year by the Toronto Film Critics Association.

The same year, he directed Sicario (2015), a thriller about an idealistic FBI agent caught in the escalating drug war on the U.S.-Mexico border. The film competed for the Palme d’Or at Cannes and grossed nearly $80 million worldwide.

In 2016, Villeneuve directed Arrival, an adaptation of Ted Chiang’s short story Story of Your Life. Starring Amy Adams and Jeremy Renner, the film grossed $203 million worldwide and was praised for its exploration of extraterrestrial communication. It earned eight Oscar nominations, including Best Picture, Best Director, and Best Adapted Screenplay, winning for Best Sound Editing.

Science Fiction Legacy and Dune Franchise

In 2017, Villeneuve directed Blade Runner 2049, a sequel to Ridley Scott’s Blade Runner (1982). The film received widespread critical acclaim but underperformed at the box office. Despite this, IndieWire‘s David Ehrlich described Villeneuve as one of the most promising 21st-century directors, comparing his trajectory to Christopher Nolan’s.

In December 2016, Legendary Pictures announced that Villeneuve would direct Dune. Co-written by Villeneuve, Eric Roth, and Jon Spaihts, Dune (2021) was released by Warner Bros. to widespread acclaim. Following its success, a sequel (Dune: Part Two) was greenlit and released on March 1, 2024. The sequel became his highest-grossing film to date and one of the top five highest-grossing films of 2024.

Influence and Style of Denis Villeneuve

Denis Villeneuve is known for his use of long takes, precise mise-en-scène, steady camerawork, and a cinematic language that emphasizes mood through silence, shallow focus, and high-contrast cinematography. One of the central themes in his films is the search for identity in an isolated world, as seen in Sicario (Kate Macer), Enemy (Adam Bell), Arrival (Louise Banks), Blade Runner 2049 (Officer K), and the Dune films (Paul Atreides). (Source: Wikipedia)

The Dune Series and Its Adaptation

Both Dune and Dune: Part Two are adaptations of Frank Herbert’s 1965 novel Dune, one of the best-selling and most critically acclaimed science fiction novels of all time. The Dune series is set in the distant future, approximately 10,000 years after the development of human civilization, spanning over a thousand years. In this universe, humanity has mastered interstellar travel, made possible by the rare desert resource known as “spice,” which enables advanced navigation. The galaxy is governed by emperors, dukes, and marquises, and the story explores themes of power struggles, succession, human survival, scarce resources, evolution, planetary science, and ecology. It delves deeply into the dynamics of autocracy, power, resistance, and rebellion.

Denis Villeneuve has been a lifelong fan of the Dune novel, captivated by its intricate characters, settings, and atmosphere. With over 20 years of experience in independent and commercial filmmaking, he was given the opportunity to direct Dune.

In 2016, Villeneuve collaborated with screenwriters to develop the script, envisioning Dune as an experimental film. The result was a major box office and critical success, earning six Academy Award nominations. While the first film primarily laid the foundation by introducing the world, characters, and conflicts, Dune: Part Two became the true embodiment of Villeneuve’s vision, delving deeper into themes, character development, and cinematic aesthetics.

Core Themes and Narrative of Dune: Part Two

Villeneuve places the love story between Paul Atreides and Chani at the heart of the film, with their ideological conflict driving the narrative. Paul is consumed by a desire for vengeance and seeks to fulfill the prophecy of becoming the Fremen messiah, leading a holy war. Chani, on the other hand, believes in democracy and equality, resisting Paul’s growing ambition. Ultimately, their love is destroyed by Paul’s thirst for revenge and his decision to claim the imperial throne as the prophesied leader. Paul marries Princess Irulan, and a furious Chani, feeling betrayed, rides off on a sandworm, marking the film’s dramatic conclusion.

Villeneuve’s Cinematic Aesthetic

While the Dune novel primarily focuses on character psychology, dialogue, and internal monologues (often indicated through italics or different fonts), it provides relatively minimal description of settings and atmosphere. Villeneuve, using his unique artistic vision, collaborated with cinematographers to capture the desert landscape with unparalleled beauty under various lighting conditions. His mastery of cinematography, sound design, and visual storytelling elevates the film to a truly immersive experience.

Key Cinematic Highlights in Dune: Part Two

  • Iconic Sequences: Paul’s journey through the desert and his triumph over the sandworm stand out as some of the film’s most memorable moments.
  • Duel Sequences: The black-and-white contrast in the duel scenes heightens their brutality and intensity.
  • Mise-en-scène: Villeneuve’s staging of mysterious and tension-filled scenes—whether depicting human-machine confrontations or one-on-one combat—is visually striking.
  • Psychological Depth: Through well-executed close-ups, the inner struggles and emotions of characters are vividly portrayed.
  • Sound and Special Effects: The film’s sound design and visual effects (nominated for an Academy Award) enhance its immersive quality. The music also plays a crucial role in intensifying the film’s emotional impact.

Villeneuve masterfully integrates all elements of filmmaking, delivering an unparalleled audiovisual spectacle that cements Dune: Part Two as a landmark in modern cinema.

 

6. Emilia Perez

 

Production Company: Why Not Productions, Page 114, Pathé, France 2 Cinema, Saint Laurent Productions
Producers: Jacques Audiard, Pascal Caucheteux, Valérie Schermann, Anthony Vaccarello
Distribution: Netflix
Director: Jacques Audiard
Cast: Karla Sofia Gascón, Zoe Saldana, Selena Gomez

Director: Jacques Audiard

Jacques Audiard was born in 1952 in Paris, France, to Michel Audiard, a renowned screenwriter. He graduated from the Conservatoire des Arts et Métiers and briefly studied literature at the Sorbonne in the 1970s before dropping out to enter the film industry as an editing assistant. He worked on Roman Polanski’s The Tenant (1976). In the 1980s, several of his scripts were adapted into films.

In 1994, Audiard directed his debut film, See How They Fall (Regarde les hommes tomber), which tells the story of a salesman named Simon trying to track down the killer of his friend Mickey. The film won the César Award for Best First Film and the Georges Sadoul Prize.

Two years later, he collaborated again with Jean-Louis Trintignant and Mathieu Kassovitz on A Self-Made Hero (Un Héros Très Discret). Set at the end of World War II, the film follows Albert Dehousse, who discovers his father was not a war hero and his mother was a Nazi collaborator. He leaves his wife for Paris and gradually infiltrates the Resistance. Adapted from Jean-François Deniau’s novel, the film won the Best Screenplay Award at the 1996 Cannes Film Festival and received six César Award nominations.

In 2002, his film Read My Lips (Sur mes lèvres) received nine César Award nominations and won three, including Best Actress (Emmanuelle Devos), Best Screenplay, and Best Sound.

In 2005, his fourth film, The Beat That My Heart Skipped (De Battre Mon Cœur s’est Arrêté), received 10 César Award nominations and won eight, including Best Film, Best Director, Best Screenplay, Best Music, and Best Cinematography.

Audiard has twice won the César Award for Best Film and the BAFTA Award for Best Film Not in the English Language—for The Beat That My Heart Skipped (2005) and A Prophet (Un Prophète, 2010). The latter also won the Grand Prix at the Cannes Film Festival.

In 2009, A Prophet (which tells the story of a young Muslim man in prison who kills a prison gang leader) won the Grand Prix at Cannes and the BAFTA for Best Film Not in the English Language. It received 13 César Award nominations and won nine, including Best Film, Best Director, Best Actor (Tahar Rahim), Best Supporting Actor (Niels Arestrup), Best Original Screenplay, Best Cinematography, Best Editing, and Best Production Design.

In 2012, his film Rust and Bone (De Rouille et d’Os) was nominated for the Palme d’Or at Cannes. The film tells the love story between a single father working at a nightclub and a woman who loses her legs in an accident. It received a BAFTA nomination for Best Film Not in the English Language, a Golden Globe nomination for Best Foreign Language Film, and won the Best Film Award at the London Film Festival.

In 2015, his seventh film, Dheepan, won the Palme d’Or at Cannes. The film follows a former Tamil Tiger fighter who immigrates to northern France with a woman and a boy, only to face discrimination and eventually be forced to fight back.

On September 2, 2018, his first English-language film, The Sisters Brothers, premiered at the Venice Film Festival. Set in the American West in 1850, it is a comedic crime film.

In 2021, he directed Paris, 13th District (Les Olympiades), adapted from two graphic novels. Through visually striking cinematography, the film explores the love stories of millennials. While not a heavyweight work, it remains captivating.

Audiard’s films are known for their tight integration of characters and events. His stories are tightly paced, with characters often forced to respond to sudden developments. His characters are vivid and resilient, driving the narrative forward while revealing their personalities through the plot. Films like A Prophet, Dheepan, Rust and Bone, and Emilia Perez exemplify this.

Audiard’s cinematic language is diverse and confident. For example, Dheepan uses Tamil, The Sisters Brothers is in English, and Emilia Perez is in Spanish, blending opera and musical elements.

Emilia Perez

The film is adapted from a chapter in French author Boris Razon’s 288-page novel Listen, Emilia Perez (Écoute Emilia Pérez). It revolves around a Mexican drug lord who undergoes gender transition to atone for her sins by searching for the remains of victims from the drug wars, while also dealing with family conflicts. Ultimately, she is killed by her ex-wife’s gangster boyfriend. At key moments, the film uses musical solos and dances to express characters’ emotions, achieving an unprecedented artistic height in cinematic history for using song and dance to convey inner feelings. (The film received Oscar nominations for Best Original Score and Best Original Song, with the song El Mal (Evil)). Under Audiard’s direction, every department (screenplay, cinematography, music, choreography, acting, editing, etc.) contributed brilliantly to the film.

At 72, Audiard’s directorial artistry is masterful. From camera movement to shot composition, every scene and sequence is filmed and edited with cinematic beauty. The emotions and inner worlds of the actors are vividly captured. The film’s pacing is tight yet moving, balancing tension and release like a fine opera or symphony. Audiard’s purely cinematic opera/musical is a classic, worthy of in-depth study from every angle. While not all Oscar-winning films endure in cinematic history, Emilia Perez has made a significant contribution to film aesthetics.

The film won the Jury Prize at the 2024 Cannes Film Festival, with its four lead actresses collectively winning Best Actress. It also won France’s Best Film Award, the European Film Award for Best Film, and was selected as France’s submission for the 97th Academy Awards for Best International Feature. Additionally, it won the Golden Globe for Best Foreign Language Film, Best Musical, and Best Supporting Actress, as well as the BAFTA for Best Film Not in the English Language and Best Supporting Actress. The film received 13 Oscar nominations, including Best Picture, Best International Feature, Best Director, Best Adapted Screenplay, Best Actress, Best Supporting Actress, Best Cinematography, Best Sound, Best Editing, Best Original Score, Best Original Song, and Best Makeup and Hairstyling. It is expected to win the Oscar for Best International Feature.

Like Audiard’s other works, Emilia Perez succeeds because of its exceptionally well-crafted characters, who drive the narrative. In the novel, the drug lord undergoes gender transition to escape other drug lords, but in Audiard’s film, Manitas not only seeks to escape the drug world but also pursues her own femininity, both psychologically and physically. Her decision to transition becomes the psychological engine propelling the story. Manitas is a rich, complex character, another unforgettable creation from Audiard’s pen, camera, and screen.

By conventional logic, after transitioning, she should sever all ties with her past and start anew. But Audiard’s brilliance lies in his portrayal of complex characters. His Emilia Perez still harbors the personality of the drug lord Manitas, a contradiction that leads her down a path of self-destruction. Her loneliness makes her miss her children, and when her ex-wife tries to take them away, the Manitas within resurfaces, sending thugs to threaten her ex-wife’s drug-dealing boyfriend, ultimately leading to her downfall and the ruin of her charity work.

Audiard uses close-ups and camera movement to reveal characters’ inner worlds, and when combined with soft solos expressing their emotions, the effect is deeply moving (thanks in no small part to Karla Sofía Gascón’s outstanding performance). The first deeply moving “aria” occurs when Rita hands the children’s passports to Manitas, who realizes she will be separated from them forever. She softly sings:
“I don’t lack the sky, I don’t lack the sea, I don’t lack a voice, but I lack a song. I don’t lack money, I don’t lack killing, I don’t lack desire, but I still yearn. I want another body, I want another skin, I want a soul with depth, with the scent of honey. I don’t want to desire others, nor be desired, let all that once was cease to exist. My only desire is to become her.”
This poignant musical moment, with its heartfelt lyrics, tender singing, moving close-ups, and flowing tears, surpasses even the most moving operatic arias (which lack close-ups, half-shadowed faces, or such softly sung soulfulness). Rita, too, is moved to tears. This scene is a classic, as timeless as the great operatic arias! It also lays the foundation for the understanding and sympathy between the two characters, setting up future developments. The audience is deeply moved and compelled to follow the characters’ fates.

Other classic moments include a silent montage: Manitas’ post-surgery pain, her bandaged face and eyes, her relieved expression, her back, and the soft music, all vividly expressing her complex inner world and deeply moving the audience. This montage is also a classic. Additionally, Emilia’s daughter smells her father’s scent on her, expressing her longing for him, and Emilia sings “Pa Pa Pa Pa,” a touching moment. Another highlight is Emilia lying on Jessy’s lap, softly singing the duet Forgive Me, a cinematic aria that can be revisited repeatedly.

The film’s dance sequences not only use song but also modern dance rhythms and movements to amplify emotional expression, creating a powerful sense of musical and dance beauty. Audiard’s filming and editing skills rival those of younger directors, with seamless transitions and innovative touches that often surpass them. For example, Jessy’s loneliness and rebellion in her bedroom; Rita’s fundraising performance of El Mal (nominated for the Oscar for Best Original Song); and the sequence in I’m Coming, where the faces of those searching for bodies fill the screen.

Rita is a brilliantly crafted character. Her sense of justice, compassion, and understanding of Manitas, Emilia, Jessy, and the children, as well as her support for Emilia’s charity work, make her another driving force in the narrative. The scene where she settles Jessy and the children in Switzerland and then breaks down in her car is superbly written, with Zoe Saldana delivering a stellar performance and Audiard capturing it perfectly. Many of Rita’s scenes showcase Saldana’s talent and Audiard’s keen eye.

Jessy, as Manitas’ wife and Emilia’s cousin-in-law, is a complex character whose psychological depth fuels the second half of the film. Her reunion with Emilia/Manitas amidst gunfire and their escape provide a thrilling climax. Pop star Selena Gomez contributes significantly to the role’s success.

The film’s structure, from exposition to development (divided into several stages) to climax, is tightly constructed. The discoveries, twists, surprises, and climaxes feel natural and justified, showcasing Audiard’s screenwriting talent. The cinematography, with its low-light environments and half-shadowed faces, enhances the film’s atmosphere. The musical and dance sequences, with their impactful choreography, owe much to the editing.

Notably, during the arias and dances, Audiard employs a technique of isolating the main characters with light, much like a spotlight in opera, focusing the audience’s attention on the singers or dancers and drawing them into their inner worlds. This innovative and effective approach reflects the seasoned director’s creativity and wisdom.

 

Part 2 of this article is at this link.