It was nearing 4 a.m. Irish time when we finally reached the Best Picture announcement at the Oscars. Though I was struggling to stay awake, I forced myself up from my couch nest as they announced Anora as the winner. A true victory for independent cinema and lower-budget productions, as director Sean Baker put it.
Anora Sweeps Major Categories as Sean Baker Reaps the Rewards
The biggest winner of the night was undoubtedly Anora, which took home five awards out of its six nominations, including Best Picture, Best Actress, Best Director, Best Original Screenplay and Best Film Editing. Sean Baker became the first individual to win four Oscars in a single ceremony for a single film, credited as director, screenwriter, producer and editor. Many might assume Bong Joon-ho achieved the same for Parasite, but interestingly, the Best International Feature Film award is credited to the country (in that case, South Korea) rather than the filmmakers themselves.
Emilia Pérez Misses Out
Despite leading the nominations with thirteen nods, Emilia Pérez walked away with only two wins. The film’s underperformance may be tied to the controversy surrounding it, with many critics labeling it a poor and inaccurate representation of Mexican people and the trans community. Additionally, its lead actress, Karla Sofía Gascón, faced backlash over old racist tweets, which even host Conan O’Brien referenced in a joke: “Anora uses the f-word 479 times. That’s three more than the record set by Karla Sofía Gascón’s publicist.”
Did We Just Witness The Substance in Real Life?
Demi Moore was widely expected to win Best Actress for her gripping performance in The Substance, especially considering her decades-long career. However, Anora‘s Mikey Madison, just 25 years old, took home the award instead, making her one of the youngest Best Actress winners under 30.
The irony is hard to ignore. The Substance explores how society disregards older women, and Moore’s Oscars snub felt like a real-life reflection of the film’s message. This raises the question: does the Academy and the film industry as a whole continue to prioritise younger actresses over veteran performers?
Adrien Brody’s Painfully Long Acceptance Speech
“A man of few words” is not how anyone would describe this year’s Best Actor winner. As Adrien Brody accepted his award for The Brutalist, he took his time, so much so that he told the orchestra to stop playing so he could continue. His speech lasted an astonishing 5 minutes and 37 seconds,
reportedly breaking the Academy Awards record for the longest acceptance speech. Previously, the longest was by Greer Garson in 1943, who spoke for 5 minutes and 30 seconds.
But why was Brody allowed to go on when other winners had their microphones cut after less than a minute? It seems the Oscars, quite literally, silence some over others. Perhaps Brody was given leeway because he is now a two-time winner, which he acknowledged by gesturing to the orchestra and saying, “I’ve done this before.”
Wicked’s Costume Designer Paul Tazewell Makes History
Despite winning only two of its ten nominations, Wicked still made Oscars history. Paul Tazewell became the first Black man to win the Oscar for Best Costume Design. In his speech, he reflected on his career, stating, “I’ve been designing costumes for over 35 years. Much has been on Broadway and now into film. And the whole way through, there was never a Black male designer that I saw that I could follow, that I could see as inspiration. To realise that, that’s actually me, it becomes a ‘Wizard of Oz’ moment.”
What This Means for the Future of Film
With an indie film like Anora dominating, controversial projects like Emilia Pérez floundering, and history-making moments like Paul Tazewell’s win, this year’s Oscars signal that the industry is evolving, but not without its contradictions and upsets.
The recognition of Anora across multiple categories suggests that the Academy is showing greater appreciation for independent and lower-budget productions rather than solely honouring multimillion-dollar films. Hollywood has long tended to celebrate itself, often awarding Best Picture to films that pay homage to the golden age of cinema, like The Artist and The Shape of Water. However, this pattern has been shifting in recent years, with smaller productions such as Moonlight and Everything Everywhere All At Once securing major wins.
In an era where streaming threatens the survival of independent cinema, awards recognition can play a crucial role in encouraging audiences to support smaller films. Sean Baker, in his acceptance speech, urged viewers to keep attending the cinema. Hopefully, audiences will take this plea and call to action to heart.
