Oscars

Sirāt (2025)

Dragging us through dust, heat, and excruciating tension of the Moroccan desert, Sirāt navigates one man’s attempts to find his daughter within its hallucinatory rave culture, relentlessly pushing him ever closer to the brink of his own physical and psychological limits.

If I Had Legs I’d Kick You (2025)

Through Mary Bronstein’s harrowing focus on motherhood as a state of constant triage, If I Had Legs I’d Kick You directs its anxiety-inducing tension toward a woman stretched to her limits, underscoring the unbearable guilt, crushing responsibility, and relentless pressure that saturates mundane anxieties.

2026 Oscar Predictions and Snubs

One Battle After Another is set for some big wins among the major categories, though Sinners could potentially pull off some major upsets.

The Voice of Hind Rajab (2025)

Confined to an emergency call centre, The Voice of Hind Rajab narrows in on the conversations between dispatch personnel and a young girl trapped in the Israeli assault on Gaza, using authentic audio recordings to anchor its dramatisation within a procedural, visceral reality.

Marty Supreme (2025)

Table tennis superstar Marty Mauser is unlikeable a sports movie antihero as they come, and through Josh Safdie’s abrasive illustration of a self-serving quest for glory, Marty Supreme propels his morally dubious ventures forward on waves of frantic, pulsating momentum.

Flow (2024)

The journey that one nameless black cat and its assorted companions set out on through flood waters makes for a minimalist narrative in Flow, yet within Gints Zilbalodis’ immersive, fluid animation, the organic cycles of this ever-changing ecosystem fall into soothing harmony.

Nickel Boys (2024)

RaMell Ross’ avant-garde instincts come fully formed in the first-person camerawork and impressionistic montages of Nickel Boys, explicitly adopting the perspectives of two friends living in a 1960s reform school, and internalising a shared resilience that leads communities into the fight for civil rights.

A Real Pain (2024)

As two amusingly dissimilar cousins reconnect to their Jewish ancestry in Poland, A Real Pain also sensitively examines their reconnection with each other, binding polar opposites together through humour, compassion, and generations of unresolved trauma.

I’m Still Here (2024)

When Brazil’s plague of forced disappearances reaches a beloved father in I’m Still Here, it is up to his resilient wife to keep the shattered pieces of her family’s lives together, transforming her sorrow and trauma into a testament of selfless, compassionate resistance.

Maria (2024)

Opera singer Maria Callas’ astonishing talent is both her greatest gift and curse in Pablo Larraín’s impressionistic, melancholy biopic, simultaneously giving her reason to live and eroding her tormented soul as she wanders through the final week of her extraordinary life.

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