Ari Mattes, University of Notre Dame Australia
Film critics – myself included – love to bemoan the death of high-quality cinema in the age of streaming, pointing to mediocre Best Picture Oscar nominees as evidence that the production of great (or even good) films is on the wane.
But perhaps things are changing. Are people sick of being inundated with short videos on TikTok and Youtube, and once again hankering for a cinematic experience? The quality of this year’s nominees suggests they are.
For the first time in a while, most of the nominated films are excellent – and nearly all of them are watchable.
My top pick: Sentimental Value
Joachim Trier’s Sentimental Value is my pick for the Best Picture Oscar. It’s the kind of meticulously crafted film in which the naturalism seems effortless.
The narrative follows acclaimed filmmaker Gustav Borg (Stellan Skarsgård), a quintessential Euro-auteur, who comes back into the lives of his estranged daughters Nora (Renate Reinsve) and Agnes (Inga Ibsdotter Lilleaas) following their mother’s death.
Gustav is making a new film, and wants his daughter Nora – an acclaimed theatre actress who has her own demons to battle (stage fright among them) – to star in it.
Nora assumes it’s a cynical manoeuvre for funding on her father’s part and refuses. So Gustav casts American star Rachel Kemp (Elle Fanning) instead, who is immediately out of her depth.
The drama unfolds around the family home in Oslo, interweaving narratives of the home’s history across generations with the tensions plaguing its current inhabitants.
Sentimental Value has a strikingly lyrical quality. Some may say it’s overdone, but every element is so perfectly executed that it doesn’t come across as pretentious or laboured. It is, in many respects, thoroughly sentimental – yet never feels like it’s performing this as some kind of effect.
Despite its considerable formal and narrative complexity, it plays in a starkly simple fashion, thanks to the light touch of Trier, coupled with stunning cinematography by Kasper Tuxen Andersen.
The lead performances by Reinsve, Lilleaas and Skarsgård are extraordinarily convincing and, perhaps more surprisingly, Fanning is awesome as the uncomfortable American trying to please the European artiste.
Sentimental Value brilliantly weaves a sense of European social and cultural history with carefully observed character moments, becoming, by the end, a kind of treatise on the affirmative potential of art to transcend and transform interpersonal barriers.
Despite the difficulties of life, the detritus of broken promises and hearts, and the disappointments minor and not so minor, we can still come together – beautifully and wholeheartedly – through the practice of that abstract dream that is called art.
Other excellent contenders
There are a few other strong contenders – films which, any other year, would have stood out above the pack.
Bugonia
Yorgos Lanthimos is one of the most acclaimed filmmakers of the past decade, and yet his films have been hit and miss. After his last great film, the 2015 black comedy The Lobster, Bugonia marks a return to form.
The film follows bumbling paranoiac conspiracy nut Teddy (Jesse Plemons) as he and his half-witted cousin Don (Aidan Delbis) kidnap Michelle Fuller (Emma Stone), the CEO of pharmaceutical company Auxolith.
Fuller is the kind of ruthless business leader who appears on the cover of Forbes magazine with the caption “Breaking Barriers” and who spouts endless nonsense about diversity while her company wreaks havoc on the planet and the people around them.
According to Teddy, she is also an “Andromedon” alien sent to Earth to enslave and exploit the human population, bringing death to humans as it has been brought to the bees.
The brilliance of the film largely revolves around its manipulation of our identification with the two leads. At times Teddy seems like a lunatic serial killer, and Fuller a heroic victim. At times we empathise with Teddy, while Fuller looks like a manipulative, cold-hearted sociopath.
The whole thing builds up to an immensely satisfying resolution, suitably nihilistic and absurd in equal measure.
As is often the case with Lanthimos’ films, the figures are caricaturish, but the comedic timing – and the oscillation between humour and discomfort for the viewer – is spot on, so it works.
Sinners
Ryan Coogler’s Sinners is a great yarn: a well-executed rock ‘n’ roll fable slash vampire siege, full of electrifying music.
It’s 1932. Twin gangster brothers Smoke and Stack (a dual role played by Michael B. Jordan) return from working for Al Capone in Chicago to Clarksdale, Mississippi, to open up a juke joint.
Their cousin Sammie (Miles Caton), a cotton picker and bluesman – with Charley Patton’s guitar – steals the show at the hugely successful opening night, fulfilling the legend of a musician who can play so well the barriers between the living and the dead come down. Everything seems to be going well – until some redneck vampires decide to assail the venue.
The whole thing is rather gaudy and silly. But like its forebear From Dusk Till Dawn (1996) – it’s so energetically (and pleasurably) handled that it doesn’t matter.
Michael B. Jordan is brilliant in the two roles, and the end result is a muscular, satisfying film that feels like a good pulp novel or comic book – capped off with a Buddy Guy jam session in the final moments.
Sinners is a delicious dream. It’s unlikely to win Best Picture; there was a time, not so long ago, when this kind of genre film wouldn’t have made it into the mix. But it’s well worth its more than two-hour runtime.
Marty Supreme
It would be hard to think of a stupider premise for a movie. In the 1950s, fast-talking entrepreneurial New York hustler Marty Mauser (Timothée Chalamet) has to raise money so he can make it to Japan to beat world number one Koto Endo (Koto Kawaguchi) in the table tennis showdown of the century.
Yet, director/co-writer Josh Safdie treats the premise with enough seriousness that we end up with a high octane sports film to rival Rocky IV. This is helped by the stunning cinematography by Darius Khondji. Shot on 35mm film, the images have a rich colour and texture rarely matched in digital cinematography.
There’s also a dynamite score from Daniel Lopatin, and an anachronistic soundtrack featuring several stellar 1980s pop tunes from the likes of Public Image Limited, New Order and Tears for Fears, to name a few.
Despite Marty’s arrogance, sweet-talking, womanising, con-artistry and generally bad behaviour, Chalamet invests the character with enough pathos and humour that he comes across as a thoroughly loveable – or at least likeable – rogue.
He is a crackpot whose self-belief and willingness to do anything to achieve his dream tricks the viewer into becoming equally invested in his absurd quest as he (and the film) bounce around New York and the world like a bright ping pong ball.
Marty Supreme is an odd – and oddly arresting – film capturing something of the madness at the heart of the American dream. Mauser does whatever he can to make it to Japan. And after several escapades – and some downright brutal scenes featuring cult director Abel Ferrara as an ageing gangster – he does make it.
The rest
Unusually for the Oscars, the pack of 2026 nominees is rounded out by several other good films.
Although not as good as some of his other films, such as Neighbouring Sounds (2012) and Bacurau (2019), Brazilian director Kleber Mendonça Filho’s The Secret Agent is a rollicking political thriller. Set in the 1970s, it features a standout performance by Wagner Moura as a dissident academic evading persecution from a brutal dictatorship.
Paul Thomas Anderson’s One Battle After Another is a wacky comedy occasionally masquerading as a serious political action thriller. It follows the burnt out leftist Pat Calhoun (Leonardo DiCaprio) as, with his daughter Willa (Chase Infiniti), he evades capture by police and a militia led by the moronic Steven J. Lockjaw (Sean Penn). The whole thing is pretty silly, but like its inspiration – Thomas Pynchon’s 1990 novel Vineland – it is fun nonetheless.
F1 is likewise good. This finely wrought racing flick follows all of the delightfully dumb cliches of the genre. Hard-boiled and burnt-out old timer Sonny Hayes (Brad Pitt) makes it to Formula One for the first time, and contends with a new era of racing epitomised by his nemesis, the brash young gun Joshua Pearce (Damson Idris).
It’s hard to imagine such a film being nominated for Best Picture in any other era; Tony Scott’s Days of Thunder (1990) is equally stupid, but better made, and has been universally lampooned by critics. But people seem to be craving (and appreciating) big screen popcorn films in an era where streaming and second-screen viewing has all but destroyed commercial narrative cinema.
Only three nominees stick out as dreary
Clint Bentley’s Train Dreams is an earnest but visually unappealing Netflix film, following a ho-hum period love story about class, racism and the American Dream. Joel Edgerton is solid as usual, and the film is watchable enough, but the whole thing seems rather tired. And the digital video look really doesn’t work with the kinds of exterior, panoramic images that dominate the film.
In Frankenstein, director Guillermo del Toro takes one of the duller, more proselytising novels in the Gothic canon and gives it a suitably ponderous treatment. Oscar Isaac hams it up in full actor mode as Dr Frankenstein. Jacob Elordi is ridiculous as the monster. And Christoph Waltz as Harlander delivers such humdingers as “Can you contain your fire, Prometheus, or are you going to burn your hands before delivering it?” (in case you didn’t know, the novel’s subtitle is The Modern Prometheus).
Made for Netflix, Frankenstein tries hard to look sumptuous with period décor, but it can’t mask the sterility of its digital images. While the novel, at least, has a simple elegance to it, del Toro’s version is meandering, gaudy and cheap-looking.
It is difficult to treat Hamnet – the unbearably pretentious latest film from director Chloe Zhao – seriously, because the filmmakers do it for you. Though there are some things to like – Paul Mescal, for instance, is nice to watch, the cast are generally proficient, and the score is fine – this self-satisfied nonsense plays more like an Instagram video performing its own seriousness than a genuinely engaging feature film.
7 hits out of 10
As usual, the best films of 2025 haven’t been nominated for Best Picture (where’s Sirât, Redux Redux, or Harvest?). Nonetheless, most of this year’s nominees are films that warrant watching more than once for a variety of reasons: pleasure, complexity, nuance.
Perhaps Hollywood is starting to make good films again after decades of superhero trash. Or, at least, the Academy has started to recognise them.
Ari Mattes, Lecturer in Communications and Media, University of Notre Dame Australia
This article is republished from The Conversation under a Creative Commons license. Read the original article.
