Why This May Be The Strangest Oscar Season Ever

by

In the heart of winter, a resilient warmth persisted within him, as Albert Camus once mused. Indeed, it’s a poignant sentiment. However, one might wonder if he had experienced the bitter chill of awards season – especially not this particular stormy season.

The past few months, characterized by debuts, forecasting, electioneering, balloting, and various miscellaneous events that define this peculiar period, couldn’t be described as invincible. Instead, they’ve felt quite transient, disposable might be a better term. We’ve seen a frontrunner nearly toppled by AI (a 2025 phenomenon), another frontrunner brought down by old tweets (a 2015 occurrence), and an underdog surging to the front in just a few days (an evergreen event).

Focusing solely on the paths taken by “The Brutalist”, “Emilia Pérez”, and “Anora” might provide an interesting perspective, but it doesn’t encompass the entire narrative of the season. There are numerous other stories that also warrant our focus, such as the unexpected rise and fall of “September 5”. This film seemed to burst onto the scene only to vanish just as swiftly. Or the story of “Wicked”, which appeared invincible until it wasn’t. And who could forget about “Conclave”, a production that was everywhere, yet at times felt like it was never really present.

In mid-September, following the series of early film festivals, the statement “no clear leader has emerged” was initially expressed. People predicted that this would soon change. However, as October arrived, followed by November and the holiday season, and then January, nothing changed. Films that appeared to be in the lead fizzled out within weeks or even days. Now, with Anora garnering top honors from producers and directors guilds, there is a stronger argument that this movie might take home the top prize at the Academy Awards. This is because, over the past 17 years, only three times has the winner of the Producers Guild Award not won the Best Picture Oscar.

Despite the Oscar voting happening now, is anything truly predictable? Couldn’t it be possible that lesser-known films like “A Complete Unknown” and “I’m Still Here” might unexpectedly claim the runner-up positions on the preferential ballot? This wouldn’t be all that surprising, would it?

The sensation of apathy lingers; comparing this to Camus doesn’t feel unwarranted. It’s a period when everything seems to dissolve, in the mist of attacks on democratic ideals and the federal administration; a prelude to nature’s retaliation following our own destructive actions. Coincidentally, another journalist, unaware that Camus had been on my mind, reached out after Sean Baker’s win on Feb. 8, expressing skepticism about its newfound certainty. “Complete chaos, nothing seems to matter,” he stated.

Isn’t it understandable that he feels this way? After all, “Anora” was initially a strong contender back when it won the Palme d’Or in May, and now it’s back in the running again. However, given everything that has risen and fallen since then, it’s hard for us to trust its chances at the Oscars. Perhaps its chances for an Oscar were buried today, or maybe they were yesterday – I’m not entirely certain.

This tumultuous, rollercoaster season seems to mirror our own turbulent times. Kamala Harris experienced highs and lows, while Donald Trump’s plans for various departments constantly changed, making it hard to keep up with what was being altered and who was responsible. The structures of awards groups and government bodies differ significantly, but there’s a sense of instability beneath both.

Amidst all this, wildfires unexpectedly broke out, a devastating event that caused us to ponder, in a mix of constructive introspection and philosophical doubt, the true nature of our festivities.

Maybe it’s the absence of a defining industry conflict that once fueled this sense. In the late 1990s and 2000s, the scene was characterized by a struggle between indie and studio productions. Then, in the 2010s and early 2020s, it was all about studios battling streamers. Now, it seems we’re transitioning to a phase where diverse quality content emerges without a clear industry narrative or rationale for one choice over another. The recent troubles with Netflix’s ‘Emilia’ might signify the end of streamers’ golden era that has persisted for the past decade. Today, they compete just like everyone else. As for where we go from here, it remains uncertain.

With no one present, we must carry on through this eventful season. A season that’s rich in drama, but strangely lacking in tension. A season where there seems to be no clear leader, yet it will still conclude with a victor.

Instead of serving as a diversion from the turmoil that’s thrown us off course, it appears to propel us even farther astray.

I’m truly grateful to possess a resilient spirit, one that bends yet never fully breaks. Just like Albert Camus once penned, this trait is a blessing indeed. However, let’s keep our fingers crossed that the Oscar I adore remains undamaged for a bit longer.

The article you’re reading was published in the February 12th edition of The Hollywood Reporter magazine. If you’d like to receive future issues, consider subscribing.

Read More

2025-02-14 19:55