Best picture rankings for the 2025 Oscars
For the past eight years, I have watched every movie nominated for best picture at the Oscars. Below are my rankings for the 2025 Oscars. Quite high rankings this year with no duds.
Best Picture Ranking
Dune: Part Two – 10/10
Denis Villeneuve's Dune: Part Two is the superior film in the franchise, surpassing even the first installment in scope, execution, and cinematic brilliance. This is a masterclass in epic storytelling, with jaw-dropping cinematography, intricate world-building, and impeccable sound design. It deserves to sweep categories like Cinematography, Sound, Editing, Director, and Picture - but its early release has diminished its Oscar momentum. Still, this is an undeniable triumph in filmmaking and will be one of the top films of the decade.
Wicked – 9.5/10
Wicked is a dazzling spectacle of musical cinema. The production design and costumes are breathtaking, creating a fully immersive fantasy world that is vibrant and alive. The lead performances are exceptional, elevating the adaptation beyond expectations. Best Production Design and Best Costume Design should be a lock, and the lead actress deserves serious consideration for Best Actress. This is a stunning achievement and one of the best musical adaptations in years.
The Brutalist – 9/10
Filmed on a modest $10 million budget, The Brutalist is a remarkable achievement in cinematography, sound, and storytelling. The film delivers a deeply resonant narrative, bolstered by a stellar lead performance from Adrien Brody - my pick for Best Actor. In many ways, this is a spiritual successor to Oppenheimer, tackling weighty historical themes with finesse, but on a fraction of the budget. The second half is weaker than the first, but The Brutalist is a powerful and haunting film that tells the anti American dream immigration story. Bonus point for bringing back the intermission!
Anora – 8.5/10
A compelling and thought-provoking film that deftly explores issues of class and gender through its complex, 3 dimensional characters and layered storytelling. Anora refuses to paint in black and white, instead embracing shades of gray that challenge the audience’s perceptions. It’s a gripping drama with a strong narrative voice and has the strongest classic hero journey of the films nominated for best picture.
The Nickel Boys – 8.5/10
Based on Colson Whitehead’s Pulitzer Prize-winning novel, The Nickel Boys follows Elwood Curtis, an idealistic Black teenager unjustly sent to a brutal Jim Crow-era reform school, where he befriends the more cynical Turner. A haunting and immersive adaptation, The Nickel Boys uses first-person cinematography to powerful effect, pulling the audience into Elwood’s perspective while withholding key details, mirroring his isolation. This is balanced by shifts to Turner’s viewpoint, creating a layered and deeply affecting narrative. The film’s use of gaps in storytelling forces the audience to piece together its horrors, making it all the more devastating. The cinematography is captivating, capturing both the claustrophobic brutality of the Nickel Reform School and the eerie detachment of Elwood’s later life. The performances are exceptional, particularly Ellis-Taylor and Herisse. This is a survivor’s coming-of-age story: raw, disillusioned, and brilliantly told.
I'm Still Here – 8/10
A harrowing yet beautifully crafted film, I'm Still Here is a haunting exploration of authoritarianism’s creeping grasp, made all the more urgent by its parallels to our world today. Set against the backdrop of the 1970s, the film’s production design is stunning, fully immersing the audience in the era while never losing sight of its contemporary resonance. Fernanda Torres portrays Eunice Paiva, a mother coping with the forced disappearance of her husband during Brazil's military dictatorship. Torres delivers a powerhouse performance - one of the most gripping of the year - bringing raw vulnerability and fierce resilience to the role. Beyond its compelling true story, I'm Still Here stands out with its creative cinematography, elevating both the narrative and emotional weight of the film. It’s not just a well-told story; it’s an urgent and necessary one.
Emilia Pérez – 8/10
This film needs to be viewed through the lens of fantasy - more akin to a telenovela or a musical than a strict or realistic drama. It is wildly unpredictable, defying narrative conventions in exciting ways. Unlike most films where you can see every plot turn coming, Emilia Pérez constantly keeps you guessing. Zoe Saldaña’s performance is stunning - though nominated in the supporting category (to bolster her chances of winning), her role is essentially the lead role (the film starts and ends with her). A bold and original work.
The Substance – 7.5/10
Inventive, audacious, and thematically rich, The Substance is a wild ride of a film that takes a razor-sharp look at aging, beauty standards, and the relentless pressure for women to remain desirable in the public eye. It has a strong perspective and a lot to say about the commodification of youth and the extremes people go to in order to maintain relevance. At times, its execution feels messy—the pacing drags in certain moments, and its messaging can be heavy-handed—but it remains an ambitious and thought-provoking piece of cinema. Demi Moore makes a triumphant return, delivering a fearless performance, and the final 20 minutes are absolutely unhinged in the best way.
Conclave – 7.5/10
Despite its incredible cast, sound design, and cinematography, Conclave ultimately disappoints. It had all the elements of a gripping drama but never fully capitalized on its potential with a twist that feels unearned and not as much political intrigue and manoeuvring as I would have expected. A missed opportunity, though still an enjoyable watch.
A Complete Unknown – 7/10
This is a well-crafted period piece with impeccable attention to detail in its settings, fashion, and production design. Timothée Chalamet delivers an excellent performance having taught himself to sing and play the guitar (very well). However, the film feels somewhat hollow, capturing a moment in time beautifully but failing to say anything profound about the present. The political climate of the era becomes mere background rather than something actively engaged with. A film that will be enjoyed by most.
Should Win vs. Will Win
Best Picture
Should win: Dune: Part Two
Will win: Anora
Best Director
Should win: Denis Villeneuve
Will win: Sean Baker (Anora)
Best Cinematography
Should win: Dune: Part Two
Will win: The Brutalist
Best Production Design
Should win: Wicked
Will win: Wicked
Best Film Editing
Should win: Dune: Part Two
Will win: Conclave
Best Original Score
Should win: The Brutalist
Will win: The Brutalist
Best Song
Should win: El Mal (Emilia Perez)
Will win: El Mal (Emilia Perez)
Best Sound
Should win: Dune: Part Two
Will win: Dune: Part Two
Best Visual Effects
Should win: Dune: Part Two
Will win: Dune: Part Two
Best Actor
Should win: Adrien Brody (The Brutalist)
Will win: Adrien Brody (The Brutalist)
Best Supporting Actor
Should win: Kieran Culkin (A Real Pain)
Will win: Kieran Culkin (A Real Pain)
Best Actress
Should win: Cynthia Erivo (Wicked)
Will win: Demi Moore (The Substance)
Best Supporting Actress
Should win: Zoe Saldana (Emilia Perez)
Will win: Zoe Saldana (Emilia Perez)
Best Original Screenplay
Should win: Anora
Will win: Anora
Best Adapted Screenplay
Should win: Nickel Boys
Will win: Conclave
Best International Film
Should win: I’m Still Here
Will win: I’m Still Here
Best Costume Design
Should win: Wicked
Will win: Wicked
Best Hair and Makeup
Should win: The Substance
Will win: The Substance
