Last year, I counted my blessings and hoped against all odds that Mikey Madison, star of Sean Baker’s “Anora” would receive her flowers after a fruitless campaign left her awardless on the big stage. And in a mark of good faith between me and the Academy, they chose her as their Best Actress winner.
Maybe I was too trusting thinking that this instance, along with their choice to anoint “Anora” as Best Picture, meant that me and the Academy were on our way to a beautiful and mutually respected friendship.
After this year’s Oscar ceremony, I think we are a long way out from that friendship, and it will definitely be “One Battle After Another” these next few years to stay in my good graces, but the 2026 Academy Awards have impressed me.
While I was a “Sinners” purist since “I Lied to You” and the merging history of Black American and immigrant culture enveloped my Roku TV, I was also mildly impressed by “One Battle After Another’s” themes and storytelling devices. So these two being the winners for the season is absolutely the highlight of the evening.
To say I would have been content watching “Sinners” take home all 16 nomination categories would be disingenuous to the successes of other films. As amazing as “I Lied to You” is, I shamelessly think that “KPop Demon Hunters” and their charting hit “Golden” is the fluff the Academy should be rewarding more often. While different in delivery, both songs speak to underrepresented demographics, one is just a bit more of a pop hit.
“Sinners” did make history with their cinematographer, Autumn Arkapaw, being the first woman of color nominee in the Best Cinematographer category, as well as the first female winner. Most never pay any attention to those who curate the mesmerizing scenes of film, but “Sinners” was so inspired and cradled the materials so beautifully; it’s so fitting that this film’s win symbolizes so much more about the industry and craft.
The Academy also impressed me with a tie in Best Live Action Short Film. While I was mesmerized by co-winner “Two People Exchanging Saliva” from my first viewing, it’s nice to know that there is some real polarity in the voting body responsible for churning out these decisions. I’ve always thought of many of the voters as a hive mind, but this put into perspective how close some of these decisions might come to.
Sean Penn’s victory in the Best Supporting Actor category, despite his lack of attendance, was also a valid victory against “Sinners” Delroy Lindo. If “Sinners” had submitted Miles Caton as its pick for his performance as Sammie, we’d be having a very different conversation. The nomination of Lindo felt like a repeat of Jamie Lee Curtis’ win in 2024: A talented actor does not always make for a winning performance. Penn’s performance was controlled and tactically brilliant, especially for a role so complicated and erratic.
And as every other awards show, barring the BAFTA’s, ignored Michael B. Jordan’s prowess as both Smoke and Stack in “Sinners” the Academy crowned the rightful winner the film’s greatest prestige to the right nominee. Jordan’s campaign has been crickets in comparison to Timothee Chalamet for “Marty Supreme” and Leonardo DiCaprio for “One Battle After Another.” The fatigue I felt watching both of these self-aggrandized actors take to my social media feed made me so indifferent to them as people, that even an emotionally exciting performance couldn’t mend their personas.
Jordan on the other hand, had such a captivating and successful performance in “Sinners,” and a humble career and campaign to back the Academy’s votes.
Jesse Plemons’ snub for “Bugonia” is the one that got away in this category for me still. The awards circuit might be over but I’m still on my soapbox that he should have been in this category, and he could have won at this year’s awards.
Chalamet practically revoked his consideration for this award himself with his recent comments in his actor-on-actor with Matthew McConaughey for Variety, taking himself out of the running for Best Actor. It might also be responsible for the 0-for-9 record “Marty Supreme” had. Despite my review of “Marty Supreme” being glowing, I am absolutely delighted by overwhelming schadenfreude watching Chalamet’s growing list of nominations with no reward grow. When you disrespect the greats, they don’t exactly want to invite them to their club. That’s my 14 cents on the Chalamet matter.
Jessie Buckley as Agnes in “Hamnet” is clearly the unifying force this season. We will never see this many film snobs agree about anything this much again, but after a performance like that it’s undeniable that she deserved every award she accepted. I just hope that the mixed reviews of “The Bride” don’t make us move on from her career highlight too fast.
Amy Madigan’s sweep of Best Supporting categories across the awards circuit was also a rare feat. Will we ever see as much love for a horror performance like Madigan in “Weapons” again? I’m surprised we even got this one, so I am just going to keep enjoying it.
Buckley’s performance was enhanced so much by her child counterparts, especially Jacobi Jupe, that for the first time since “The Florida Project” I have wished the Academy still had pint-sized Oscars for stellar juvenile performances.
I doubt they will make that change, since they hardly make changes to the Academy’s process. Adding the Best Casting category is probably enough excitement for the next ten years.
“One Battle After Another’s” inaugural win in that category really defined what the category expects of films it considers. Signing Leonardo DiCaprio to a film is no small feat, but breakout star Chase Infiniti and Teyana Taylor’s flash in the pan performance were such brilliant casting decisions that will be the gift that keeps on giving to film for years to come.
My mild take on “One Battle After Another” elicited a mild reaction to its Best Picture win. Again, “Sinners” was my choice, but as soon as Paul Thomas Anderson won Best Director, I knew it was over. Ryan Coogler better get the gears turning on his next allegory, because his skills have to be recognized by the Academy voting class eventually.
Nothing will beat the year “Anora” surprised all, but this year was a step in a consistent direction. From now on I will wait anxiously for next year’s ceremony, hoping that the Academy doesn’t do anything to embarrass themselves and ruin this hot streak they’ve had going with us movie lovers.
