Case for Best Picture: Vignettes by The Crimson’s Arts Board

With the 97th Academy Awards ceremony approaching this Sunday, members of The Crimson’s Arts Board make the case for which of the 10 nominated films will win the prestigious Best Picture title.

‘Anora’ (dir. Sean Baker)

With a powerful narrative, compelling acting, and refreshing cinematography, Sean Baker’s “Anora” undoubtedly has all the elements of a Best Picture winner. “Anora” has artistically redefined the lens through which we view sex work, class, and labor.

In telling the story of Ani (Mikey Madison), a sex worker who impulsively marries a Russian oligarch’s son (Mark Eydelshteyn), Baker and cinematographer Drew Daniels provide a masterclass in framing and attention to detail. Ani and Vanya’s whirlwind relationship is captured through a dizzying yet captivating compilation of camera work, from close-ups to wide-angle shots that have no other choice but to pull viewers in and never let go.

The stars of the film are also what make “Anora” shine all the more brightly. Madison brings spirit to Ani, diving headfirst into the nuances of the character with an effortlessness that pairs brilliantly with the film’s themes. Baker goes where most modern-day films don’t; the realities of sex work, wealth, and power make Madison’s portrayal of Ani all the more unique. Eydelshteyn’s performance as Vanya is equally striking; His ability to subtly peel back layers of the character with subtle mannerisms is alluring. He successfully conveys Vanya’s inner turmoil and emotional development in relation to his parents and their expectations for his life.

The intertwining of these characters and their inevitable fallout makes “Anora” as intriguing as it is, and the film’s overall production — meriting Directors Guild of America Awards, Producers Guild of America Awards, and Cannes’ Palme d’Or — cements it as one of the best films to come out of 2024.

—Staff writer Emily G. Fallas-Chacon can be reached at emily.fallas-chacon@thecrimson.com.

‘The Brutalist’ (dir. Brady Corbet)

Unflinching and epic, Brady Corbet’s “The Brutalist” follows fictional architect Lázló Tóth (Adrien Brody) and his all-consuming work under eccentric wealthy industrialist Harrison Lee Van Buren (Guy Pearce). With awe-inspiring cinematography by Lol Crawley and an incredible score by Daniel Blumberg, “The Brutalist” features some of the most elegant and stunning cinematic sequences of the past year. Shots of Tóth’s monumental creation appear alternatingly heavenly and cavernous against the gorgeous backdrop of Pennsylvanian hills. That being said, “The Brutalist” never borders on sentimental, even in sequences that seem to purport the promise of the United States. The film embodies Tóth’s architecture – spectacular but harsh. The ugly truth remains ever-present.

Impressively, despite a lengthy three-and-a-half-hour runtime, the film never drags — a testament to the power of an intermission. Brody’s leading performance grounds Tóth through the two distinct acts and captures the man’s eccentricities without losing track of his charismatic brilliance. Pearce’s Van Buren and Felicity Jones as Tóth’s wife Erzsébet also turn in fabulous supporting performances. Pearce goes from posturing to sickeningly domineering, wholly believable the entire time. In “The Brutalist,” Corbet has crafted a movie much like the architectural movement: divisive, huge, and certain to stand the test of time.

—Staff Writer Ria S. Cuéllar-Koh can be reached at ria.cuellarkoh@thecrimson.com. Follow her on X at @riacuellarkoh.

‘Conclave’ (dir. Edward Berger)

The fact that “Conclave,” a political thriller about the election of a new pope, is not at all boring is a miracle in itself. Based on the novel of the same name by Robert Harris, the film directed by Edward Berger transforms the bureaucracy and traditionalism of a papal conclave into a beautiful story underlining the power of faith and acceptance.

“Conclave” is also very funny. The ensemble of cardinals (and one nun) is hilarious. Staunch traditionalist Cardinal Tedesco (Sergio Castellitto) hits his vape multiple times throughout the film. Sister Agnes (Isabella Rossellini) solemnly delivers a proto-feminist quip: “Although we sisters are supposed to be invisible, God has nevertheless given us eyes and ears.”

But the sincere moments of “Conclave” are just that — speeches about faith and doubt and love delivered with a subdued passion. The emotional experience of “Conclave” alone is enough to earn Best Picture.

—Staff writer Khadijah A. Olufayo can be reached at khadijah.olufayo@thecrimson.com.

‘A Complete Unknown’ (dir. James Mangold)

Any James Mangold film will likely be a success. Any Mangold film about a musician — especially one reminiscent of his defining film, “Walk the Line” — will likely define the film world’s year. And that’s just what his newest film, “A Complete Unknown,” did. The famed director is not unfamiliar with winning Academy Awards — his past films have won four — so, suffice to say, he knows how to do it.

“A Complete Unknown” features a star-studded cast — Timothée Chalamet, Elle Fanning, Edward Norton, Monica Barbaro — and follows Bob Dylan’s early career and rise to fame. Reflecting on the plot, not too much happens. Rather, it is the excellent acting, from Chalamet’s expert Dylan-esque voice to Norton’s Oscar-worthy performance to Barbaro’s Joan Baez reminding the world of the folk musician’s discography, that will carry the film to Best Picture.

Mangold plays on what audiences want to see: an escapist film filled with the positive echoes of the past. And it worked — as we will see on Sunday when “A Complete Unknown” wins Best Picture.

—Staff writer Thomas A. Ferro can be reached at thomas.ferro@thecrimson.com.

‘Dune: Part Two’ (dir. Denis Villeneuve)

Before Villeneuve’s breathtaking cinematic delivery, it seemed unimaginable to convert to film Frank Herbert’s bizarre yet iconic space empire: the harsh majesty of the desert planet Arrakis; the slick, sickly black sun-lit home planet of House Harkonnen. The second installment of “Dune” landed the even greater task of convincingly portraying the military uprising of an oppressed people. Its sense of not just interplanetary but religious immensity, aided in no small part by Hans Zimmer’s score, is interminable.

In “Dune: Part Two,” Paul Atreides seizes his destiny as the prophesied Kwisatz Haderach and emperor of the universe. The film, in clearer strokes than Herbert’s book, warns us that Paul is a manufactured messiah, yet simultaneously instills the awesome, terrible power that brings us — like the Fremen — to reverence.

“Dune: Part Two” isn’t just the best sci-fi movie of the year. It’s a monumental feat of cinematography and storytelling, not in spite of, but because of its genre. Far more than a great adaptation of a beloved book, it can only instill the awe that it does because it is cinema, and because it is sci-fi — powerfully artistic, truly epic.

—Staff writer Isabelle A. Lu can be reached at isabelle.lu@thecrimson.com. Follow her on X @IsabelleALu.

‘The Substance’ (dir. Coralie Fargeat)

Coralie Fargeat’s “The Substance” stands out from this year’s Oscar nominees as a visceral work that fuses body horror, science fiction, and a searing critique of societal standards of beauty and aging. Anchored by phenomenal performances from both Demi Moore and Margaret Qualley, the film delves into the surreal and haunting consequences of one’s reinvention of identity. Moore captivates as Elisabeth Sparkle, exuding vulnerability and raw intensity, while Qualley’s transformation as Sue unfolds with an unsettling yet intoxicating air.

The cinematography is fluid and jarring, with sharp camera pans and surreal overlays that intensify the characters’ psychological descent into madness. One of the most striking scenes — reminiscent of David Lynch’s “Mulholland Drive” — is Sue’s audition scene. The use of vibrant colors and unconventional, disorienting camera angles create a sense of an unsettling reality lurking beneath the surface. Backed by an evocative, discordant score by Raffertie, “The Substance” transcends mere storytelling or social critique — it’s a dive into the depths of the human subconsciousness, forcing you to confront the horror of self-erasure.

—Staff writer Anastasia Poliakova can be reached at anastasia.poliakova@thecrimson.com.