The Best Movies That Lost Best Picture at the Oscars

This tale was initially released on February 6, 2019, but has since been revised to incorporate the happenings at the 97th Academy Awards ceremony.

As a film enthusiast, it’s hard to overlook the Academy Awards, regardless of one’s personal feelings towards them. They serve as a chronicle of cinematic history, albeit an imperfect one. Peering through the lens of Best Picture winners, you can trace the ebb and flow of trends, gaining a rough understanding of what was highly regarded in films for each year and observing the evolution of these trends over time. For example, the victory of Around the World in 80 Days appears to be a pendulum swing back from the gritty realism of earlier winners such as On the Waterfront and Marty.

From my perspective as a cinephile, imagine this scenario: Instead of one annual film award, we had two. Sounds chaotic, I know, but consider the benefits. It would provide a more comprehensive snapshot of the cinematic landscape, showcasing a broader spectrum of excellence and diversity in storytelling from around the globe.

This list aims to highlight a movie, other than the Best Picture winner, that could be a worthy victor and provide a richer perspective on film history. It’s not about predicting the overall winner for the year (as Danny Peary’s 1993 book “Alternate Oscars” demonstrates this can be enlightening). The list isn’t suggesting these films are superior to those that won, even if they occasionally are (looking at you, “Crash” and “Braveheart”). Instead, it seeks to recognize the best runner-up for each year, potentially offering a film that could stand as an excellent alternative alongside the winner. Think of it as an alternate route through Oscar history’s grand journey. Let’s begin our exploration from the early days, when winners were announced in advance and the ceremony was simply a lavish dinner.

1st Academy Awards: 1927/28

Winner: WingsBest Loser: Sunrise

The 1st Annual Academy Awards simplified the selection of the Best Picture winner: The Academy chose one for itself that year. For that specific year, the Oscars honored both an “Outstanding Picture” and a “Best Unique and Artistic Picture.” This was done to separate more commercially successful films from those with a stronger artistic focus (a move reminiscent of the controversial Outstanding Achievement in Popular Film prize proposed, then withdrawn, in 2018). The Outstanding Picture winner, Wings, was later designated as that year’s Best Picture, while Sunrise: A Song of Two Humans became a footnote in awards history. However, Sunrise is a remarkable masterpiece that could have just as easily been the top pick. The film tells the story of an unnamed man (George O’Brien) and woman (Janet Gaynor, who won Best Actress for her role), whose marriage is strained. F.W. Murnau, the director, applied the German Expressionist techniques he developed with films like Nosferatu and The Last Laugh to Hollywood in this film. It’s undoubtedly unique and artistic; however, whether it belongs in a different category than a popular film like William Wellman’s Wings remains a debatable issue even today, deep into the history of the Oscars.

2nd Academy Awards: 1928/29

Winner: The Broadway MelodyBest Loser: In Old Arizona

In Old Arizona represents the type of film less likely to win Best Picture in modern times – a lighthearted genre movie with a surprising dark ending. Despite its flaws such as white actors portraying Latino characters with heavy makeup, it remains engaging due to its focus on the outlaw hero, Cisco Kid (Warner Baxter, who won Best Actor for this role). This film adaptation of an O. Henry story has a clear bias towards the hero and away from the arrogant white soldier pursuing him. The success of In Old Arizona contributed significantly to the enduring popularity of the Cisco Kid character, which would later be portrayed in various media forms, including movies, radio, comics, and TV shows, by Warner Baxter, Cesar Romero, and more recently, Jimmy Smits.

3rd Academy Awards: 1929/30

Winner: All Quiet on the Western FrontBest Loser: The Big House

In an alternate phrasing: The movie “The Big House” cleverly switches perspectives, introducing a fresh inmate (Robert Montgomery, accused of manslaughter due to drunk driving) as the protagonist, yet primarily focusing on two seasoned criminals, Chester Morris and Wallace Beery. Contrary to their initial portrayal, these characters are revealed to have redeeming qualities. This groundbreaking film paved the way for future prison movies, delivering a powerfully compelling narrative that underscores the dehumanizing impact of prisons through vivid visuals. The story culminates in a shockingly brutal finale that retains its intensity today.

4th Academy Awards: 1930/31

Winner: CimarronBest Loser: The Front Page

The main issue with “The Front Page” lies in the fact that Lewis Milestone’s film adaptation of Ben Hecht and Charles MacArthur’s play about quick-witted journalists on the crime beat will forever be eclipsed by Howard Hawks’s superior “His Girl Friday,” which reworks the same material into a romantic comedy with a gender switch. However, it’s important to note that Milestone’s film is not without merit either. Featuring Adolphe Menjou and Pat O’Brien in lead roles, it’s brisk, humorous, and showcases the director attempting to surpass the constraints of the early sound era by infusing visual style into dialogue-heavy content.

5th Academy Awards: 1931/32

Winner: The Grand HotelBest Loser: Shanghai Express

Discussing cinematic panache, Josef von Sternberg didn’t discard the captivating visual aesthetic he cultivated during the silent film era upon the arrival of sound. Instead, he found an exceptional partner in Marlene Dietrich, an actress who possessed the ability to command the screen with her weary expression and striking attire. Shanghai Express, released in 1932, was the fourth of seven films produced by Sternberg and Dietrich between 1930 and 1935. This film is set during China’s political upheaval, where Dietrich portrays a “coaster” – a woman with a dubious reputation who mingles among the ruling class men. Intriguingly, she encounters her true love on a train that is destined to fall into the hands of revolutionaries. Sternberg and Dietrich’s collaboration flourished during the pre-Code era, creating an enduring blend of iconic visuals with a complex portrayal of societal norms and attitudes towards sex that would later be considered inappropriate.

6th Academy Awards: 1932/33

Winner: CavalcadeBest Loser: 42nd Street

42nd Street, a backstage musical drama set during the Great Depression, doesn’t shy away from the gritty reality or idealize its characters. For instance, Ginger Rogers portrays a heroine known as “Anytime Annie.” At this stage in the sound era, musical films were still exploring their potential. However, they weren’t lacking in creative talent, such as Busby Berkeley, who directed the film’s musical sequences. Berkeley recognized that a movie musical wasn’t just about pointing a camera at performers; instead, the camera itself needed to be part of the dance routine, and this concept was already evident in this early work that marked the beginning of his distinguished career.

7th Academy Awards: 1934

Winner: It Happened One NightBest Loser: The Thin Man

Frank Capra’s movie, “It Happened One Night,” was a groundbreaking romantic comedy as it won all major Oscars, leaving little room for competition. Interestingly, this was an uncommon victory for a comedy, although the witty and charming mystery film, “The Thin Man,” featuring Myrna Loy and William Powell, could have been another worthy contender. The first film in the series is considered its best due to the captivating chemistry between Loy and Powell and their clever dialogues that overshadowed other elements of the movie – a fact that shouldn’t be seen as a complaint.

8th Academy Awards: 1935

Winner: Mutiny on the BountyBest Loser: Top Hat

In the movie “Top Hat“, the storyline is filled with lighthearted confusion, as Fred Astaire’s and Ginger Rogers’s characters are kept apart due to a series of miscommunications and mix-ups, until they finally come together in the film’s climax. It’s an absolute pleasure to watch, as Astaire and Rogers shine at their most endearing while dancing through a chain of near misses and identity blunders, set to Irving Berlin’s catchy tunes. The duo collaborated on ten films, and despite achieving individual success, there’s something truly enchanting about witnessing them together. “Top Hat” showcases them amidst vibrant characters, opulent settings, and allows their unique chemistry to unfold.

9th Academy Awards: 1936

Winner: The Great ZiegfeldBest Loser: Dodsworth

Based on a novel by Sinclair Lewis, later adapted into a successful stage play, the movie “Dodsworth” features Walter Huston and Ruth Chatterton as an elderly couple rediscovering each other during their European travels, but realizing they no longer enjoy each other’s company. The film required a director capable of delving deeply into the characters’ inner lives, which it found in William Wyler. Known for subtle and assured directing, along with drawing powerful performances from his cast, Wyler was an ideal choice. He had already directed numerous films when he took on “Dodsworth,” but it was this film that earned him his first Academy Award nomination.

10th Academy Awards: 1937

Winner: The Life of Emile ZolaBest Loser: The Awful Truth

The Oscars quickly established certain patterns that were challenging to break, one of which was favoring serious films over comedies. While exceptions like It Happened One Night, which won multiple categories and marked director Leo McCarey’s second Best Picture triumph in 1938, and the screwball comedy The Awful Truth (where Cary Grant and Irene Dunne reconsider the wisdom of their divorce) were notable exceptions, they had little chance against heavyweights like A Star Is Born, The Good Earth, Lost Horizon, and the eventual winner, The Life of Emile Zola. Yet, despite this, it remains a standout example of its genre, with Grant and Dunne making excellent sparring partners – so much so that they would collaborate on two more films together.

11th Academy Awards: 1938

Winner: You Can’t Take It With YouBest Loser: Grand Illusion

It’s unfortunate that the Academy occasionally overlooks the fact that exceptional films are not always produced in English-speaking countries, often limiting recognition to the Best Foreign Language Film category. This practice didn’t begin until 1947, but at least they acknowledged Jean Renoir’s “Grand Illusion” for the 1938 awards, a moving tale about the first World War that was released as another war threatened on the horizon.

12th Academy Awards: 1939

Winner: Gone With the WindBest Loser: The Wizard of Oz

Occasionally, a year produces more timeless masterpieces than usual, but the nominees for Best Picture don’t always recognize this. For example, in 1999, films like “Being John Malkovich,” “Magnolia,” “The Matrix,” “Fight Club,” “The Talented Mr. Ripley,” “Boys Don’t Cry,” and “The Iron Giant” were overlooked. However, there are exceptions. For instance, “Gone With the Wind,” a film that left an indelible mark on culture, won Best Picture over films like “Dark Victory,” “Mr. Smith Goes to Washington,” “Ninotchka,” “Of Mice and Men,” “Stagecoach,” “The Wuthering Heights,” “Goodbye Mr. Chips,” and “Love Affair.” Remarkably, it also beat out another enduring film by Victor Fleming: “The Wizard of Oz,” a film that has captivated multiple generations as their first enchanting encounter with musicals and classic Hollywood filmmaking.

13th Academy Awards: 1940

Winner: RebeccaBest Loser: The Great Dictator

1940 wasn’t identical to 1939, but it outshone many years by producing an abundance of classic films. Two Best Picture nominees were directed that year – Alfred Hitchcock’s “Rebecca” won the award, while George Cukor’s “The Philadelphia Story” is considered one of the greatest romantic comedies ever made. However, to highlight other significant trends in Oscar-nominated films, let’s acknowledge “The Great Dictator” as a crucial inclusion. This film stands alone on our list and among actual winners, as it was Charlie Chaplin’s only representation in 1940. Moreover, no other filmmaker was creating something similar at the time. Despite World War II breaking out, Hollywood wasn’t quick to produce films criticizing Hitler. Chaplin self-produced “The Great Dictator,” where he played both the role of the tyrannical dictator Adenoid Hynkel and a Jewish barber who gets entangled in the harsh realities of authoritarianism. This film was daring, blending humor with biting satire to deliver a poignant call for peace, and it resonated with both critics and audiences alike.

14th Academy Awards: 1941

Winner: How Green Was My ValleyBest Loser: Citizen Kane

As a passionate cinephile, I can’t help but reflect on the surprising victory of “How Green Was My Valley” over “Citizen Kane” in the Best Picture category at the Oscars. For years, “Citizen Kane” has been hailed as the greatest film ever made, yet its loss is far from an isolated instance of the Academy getting it wrong.

Two key factors are often overlooked: firstly, “How Green Was My Valley” is indeed a remarkable film in its own right, and secondly, the competition that year was incredibly fierce. The list of nominees included “Here Comes Mr. Jordan,” “The Little Foxes,” “The Maltese Falcon,” “Sergeant York,” and “Suspicion,” among others. It’s worth noting that the Academy would later limit the number of nominees to five, a decision that wasn’t made until several years after this event.

However, none of these films can compare to the masterpiece that is “Citizen Kane.” Directed by first-time filmmaker Orson Welles, this rise-and-fall story (co-written by Herman Mankiewicz) was inspired by the life of William Randolph Hearst. The film showcases Welles’s extensive knowledge of filmmaking techniques and introduces many innovations that he pioneered.

15th Academy Awards: 1942

Winner: Mrs. MiniverBest Loser: The Magnificent Ambersons

1942 saw an impressive lineup of Best Picture contenders, including “Yankee Doodle Dandy” and “The Pride of the Yankees”, but among them, a film directed by Orson Welles, such as “The Magnificent Ambersons“, would be our choice for an alternate. This movie was taken away from Welles before he could complete it, marking the beginning of his long-standing disputes with studios and producers. Although the ending added later is noticeable, the portrayal of a Midwestern family’s waning fortunes and dwindling optimism is both innovative and emotionally resonant.

16th Academy Awards: 1943

Winner: CasablancaBest Loser: The Ox-Bow Incident

David O. Selznick aggressively promoted the 1946 film “Duel in the Sun,” but Variety labeled it as merely a typical Western. Though some Westerns were recognized with awards, such as Best Picture for “Cimarron” and nominations for “Stagecoach,” dismissing them was not uncommon. At the peak of their popularity, Westerns still faced skepticism. However, even the most critical viewers acknowledged that “The Ox-Bow Incident” wasn’t an average Western. This movie, directed by William Wellman, delved into the dark side of mob mentality and its fatal consequences. Henry Fonda played a cowboy who joined a posse to hunt down murderers, only to witness as their pursuit of justice descended into chaos. Wellman, known for directing the first Best Picture winner “Wings,” skillfully tapped into the timelessness of the story and paved the way for the morally complex Westerns that would flourish in the 1950s.

17th Academy Awards: 1944

Winner: Going My WayBest Loser: Double Indemnity

Billy Wilder and Raymond Chandler didn’t originate the genre of film noir with this adaptation of a James M. Cain story, featuring an insurance agent (Fred MacMurray), a dangerous woman (Barbara Stanwyck), and their deadly scheme. However, film noir would have been significantly different without the blend of Wilder’s cynical perspective on human nature and Chandler’s dialogue. Instead, the Academy chose to award Going My Way, starring Bing Crosby as a relaxed priest, for its uplifting spirit. Yet, it is Wilder’s film that has left an enduring impact, permeating deep into the cultural landscape.

18th Academy Awards: 1945

Winner: The Lost WeekendBest Loser: Mildred Pierce

Was any director as prolific within the studio system as Michael Curtiz? Originating from Hungary, Curtiz experienced significant triumphs in Europe’s film industry and even more remarkable success when he became Warner Bros.’ top in-house director, a tenure marked by Casablanca, a lasting partnership with Errol Flynn, and additional achievements. Curtiz was known for his attention to detail and adaptability; initially, he wasn’t particularly enthusiastic about working with Joan Crawford. However, when she secured the lead role in Mildred Pierce, she managed to rejuvenate her career and prove her worth to Warner Bros. With this film adaptation of James M. Cain’s noir novel, depicting a mother who tirelessly gives to a daughter who takes too much, Crawford achieved both objectives and won over Curtiz. This production stands as an illustration of the studio apparatus functioning flawlessly — from the star to the moody, shadow-filled framing — to craft art that is both heart-wrenching and exhilarating.

19th Academy Awards: 1946

Winner: The Best Years of Our LivesBest Loser: It’s a Wonderful Life

During World War II, both Frank Capra, a director, and James Stewart, an actor, experienced significant disruptions in their careers. Capra shifted his attention towards producing motivational films about the war. Stewart, on the other hand, served as an airman, which left him deeply affected by his experiences. He became reluctant to talk about his military service in subsequent years and faced difficulties returning to acting. Eventually, he agreed to play George Bailey, a small-town banker who comes to appreciate the impact his life has on others. Initially, the film didn’t perform well at the box office, but it gained popularity decades later due to frequent airings on local TV stations in the 1970s and 1980s following a copyright issue. Despite this late success, the movie missed out on winning any Oscars at the time, losing to The Best Years of Our Lives, another poignant film reflecting the war years’ values. Now, these two films make for a compelling double feature.

20th Academy Awards: 1947

Winner: Gentleman’s AgreementBest Loser: Great Expectations

David Lean didn’t receive any Academy Awards until he became renowned for creating profound epics such as Bridge on the River Kwai and Lawrence of Arabia. However, he could have justifiably won for his adaptation of Charles Dickens’s Great Expectations, which skillfully condenses the novel while preserving its intricate plotting, vibrant characters, and distinctive dark humor. This nomination served as further proof that the British film industry was thriving in the post-World War II era – to put it mildly, a testament to the revitalization also taking place in Italy, Japan, France, Sweden, and other countries. More significant works were yet to come.

21st Academy Awards: 1948

Winner: HamletBest Loser: The Red Shoes

The enchanting film “The Red Shoes” has likely ignited the passion for dance within countless individuals, and it’s easy to understand why. The movie delves into the quest for artistic perfection at any cost, taking us to poignant depths, yet its breathtaking beauty almost makes the journey seem worthwhile. This ambiguity lies at the core of Michael Powell and Emeric Pressburger’s narrative, focusing on a ballerina torn between her yearning for artistic expression and her longing for happiness. The filmmakers themselves were pioneers, merging cinematography and choreography — as well as reality and dreams — through captivating dance sequences, and skillfully employing Technicolor in unparalleled ways. This story of obsession is crafted with meticulous care and a masterful understanding of film’s ability to evoke emotion.

22nd Academy Awards: 1949

Winner: All the King’s MenBest Loser: A Letter to Three Wives

In a brilliant blend of an innovative concept and sensitive cinematic storytelling, accompanied by an exceptional ensemble cast, the film A Letter to Three Wives offers audiences the unique perspective of three intertwined stories exploring troubled marriages. Initially adapted from the novel A Letter to Five Wives, with Anne Baxter initially slated to portray a fourth wife, the narrative unfolds as these three women (Jeanne Crain, Ann Sothern, and Linda Darnell) receive a letter from an unseen friend announcing her departure with one of their husbands. The day progresses, each woman pondering if her spouse is the one involved, and questioning whether they should take blame if it is indeed so. This intriguing premise serves as a platform for Joseph Mankiewicz to portray the hidden domestic struggles beneath the veneer of post-war American affluence.

23rd Academy Awards: 1950

Winner: All About EveBest Loser: Sunset Boulevard

The movie industry has often carried an undercurrent of self-contempt, which at times results in remarkable films. This self-contempt is vividly portrayed in “All About Eve,” a movie exploring the ruthless landscape of Broadway, yet it could as well be about Hollywood. Similarly, it’s the main theme behind Billy Wilder’s film, “Sunset Boulevard,” where a struggling screenwriter (William Holden) navigates Hollywood’s eerie underworld by becoming entangled in a tumultuous relationship with an aging silent-era star (Gloria Swanson). The movie mirrors the industry through Swanson’s personal journey; she was once a top Paramount star but struggled professionally post her peak.

24th Academy Awards: 1951

Winner: An American in ParisBest Loser: A Place in the Sun

In George Stevens’ film adaptation of Theodore Dreiser’s “An American Tragedy”, he delves into the inner worlds of its characters: a determined factory worker (Montgomery Clift), the colleague he courts and impregnates (Shelley Winters), and an alluring socialite (Elizabeth Taylor) who leads him to make heartless decisions. With compelling performances and Stevens’ skillful direction, it’s driven by the conflict between its raw emotions and the refined manner in which they are portrayed – a tension that also fueled another contender vying for the Best Picture award that year, “A Streetcar Named Desire”.

25th Academy Awards: 1952

Winner: The Greatest Show on EarthBest Loser: High Noon

As a movie enthusiast, I can’t help but reflect on a Western film that defied the norms of its genre – “High Noon.” In this gripping tale, the protagonist, played by Gary Cooper, finds himself in a precarious situation, desperately seeking aid from those he has pledged to protect, yet they seem indifferent to his dire predicament. This film, unlike many others in the Western genre, didn’t conform to the usual narrative, leaving some of its admirers unsettled.

Howard Hawks, moved by this apparent helplessness, created “Rio Bravo” as a counterpoint. But “High Noon,” directed by Fred Zinnemann, resonated deeply with audiences and critics alike. Many recognized the film’s central conflict mirrored the palpable fear and suspicion of the McCarthy era. However, this profound film was marred by controversy due to screenwriter Carl Foreman being questioned by HUAC. Critics such as John Wayne, who had rejected the role in “High Noon” and whose own film “The Quiet Man” was nominated for Best Picture that year, were among those casting aspersions.

Sadly, Foreman found himself blacklisted as a result, and Cecil B. DeMille’s popular yet critically divisive “The Greatest Show on Earth” won the top prize at the Oscars that year.

26th Academy Awards: 1953

Winner: From Here to EternityBest Loser: Roman Holiday

The movie “Roman Holiday,” which propelled Audrey Hepburn into stardom, serves as the model for all romantic comedies, culminating in a delightful yet poignant conclusion that only a few have dared to replicate. In this film, Hepburn portrays Ann, a princess who escapes her handlers and finds herself touring Rome with Joe (Gregory Peck), a seasoned reporter who initially fails to recognize her royal status. As the story unfolds, he uses their friendship as an opportunity for exploitation, a tactic that persists until he acknowledges his growing affection for her. Co-written by Dalton Trumbo, who remained unaccredited for many years, it’s a heartfelt homage to Rome and a capturing of the essence of falling in love unexpectedly, even when the relationship seems doomed to be short-lived.

27th Academy Awards: 1954

Winner: On the WaterfrontBest Loser: The Caine Mutiny

Humphrey Bogart gained renown for embodying a distinctive, tough persona on screen, yet he delivered some of his finest performances by subtly altering this image. For example, in the movie “In a Lonely Place,” he delves into the depths of a solitary and harsh character, revealing the underlying darkness. Similarly, in “The Caine Mutiny,” he portrays a naval commander who gradually breaks down, with his commanding presence concealing simmering anger and paranoia. Edward Dmytryk’s adaptation of Herman Wouk’s novel, “The Caine Mutiny,” is worth watching for its exploration of a mutiny and subsequent court martial during World War II. However, it’s Bogart’s poignant portrayal that makes the film truly memorable.

28th Academy Awards: 1955

Winner: MartyBest Loser: Mister Roberts

Delving into the motif of naval mutiny: Henry Fonda had spent numerous years portraying the title character in Mister Roberts on Broadway, a role that by the time this movie adaptation arrived, some felt he was too mature and absent from films to pull off. Yet, the film contends no other actor could have executed it nearly as well. The movie presents Fonda’s Roberts, a junior-grade naval lieutenant, in opposition to a cruel captain portrayed by James Cagney during World War II, where they endure an unattractive assignment. The film is an unusual yet powerful blend of irreverence and patriotism. Although eager for battle, Roberts is kept away from the war by his monotonous superior officer’s capricious decisions, so he responds with insubordination. The movie also has a checkered past – John Ford directed it until illness and disagreements forced him to leave, resulting in Mervyn LeRoy and an uncredited Josh Logan taking over the reins. (Logan, co-writer of the stage version, also directed another 1955 Best Picture nominee, Picnic.) However, the humor keeps it engaging from start to finish, and the acting – including a Best Supporting Actor–winning performance by Jack Lemmon – is invaluable.

29th Academy Awards: 1956

Winner: Around the World in 80 DaysBest Loser: Giant

George Stevens received his second Best Director award for “Giant,” a vast narrative encompassing oil, Texas, racism, and unfulfilled love, featuring Elizabeth Taylor, Rock Hudson, and James Dean in his final role. However, the promotional campaign spearheaded by producer Mike Todd for his adaptation of Jules Verne’s novel was too powerful to be overshadowed. The fact that Todd was married to Taylor lent an intriguing angle to the story. Despite the prevalence of grandiose prestige pictures during this decade, “Giant” remains a benchmark for how to convey an intimate tale on a large scale, without losing sight of its characters amidst the expansive backdrop or extended duration.

30th Academy Awards: 1957

Winner: The Bridge on the River KwaiBest Loser: 12 Angry Men

From the very beginning, I’ve always admired how the film and television industries navigated their shared space, each viewing the other as a potential rival yet finding harmony in their coexistence. The 1950s were particularly intriguing as they experimented with innovative formats like wide-screen movies and 3-D, trying to outdo the emerging television. However, it soon became clear that this competition had its perks, with TV serving as a testing ground for film material and nurturing a new breed of filmmakers who mastered the art of working swiftly under tight budgets and limited sets.

The iconic film, “12 Angry Men,” beautifully exemplifies this symbiotic relationship. It was adapted from a previously produced television play and served as the feature-film debut for Sidney Lumet, a seasoned television director. With Henry Fonda leading an exceptional cast, they created high-tension drama around jurors passionately debating a seemingly clear-cut case. The protagonist, played by Fonda, stubbornly persisted in his quest to make others reconsider the verdict, ultimately adding depth and intrigue to the story.

31st Academy Awards: 1958

Winner: GigiBest Loser: The Defiant Ones

As a passionate cinephile, I can’t help but associate the name Stanley Kramer with powerful films tackling significant social issues. However, this description doesn’t fully convey the diverse range of movies he was involved in. From producing classics like “High Noon,” “The Caine Mutiny,” and “The Wild One” to contributing to the making of the comedic epic “It’s a Mad, Mad, Mad, Mad World,” Kramer’s filmography is rich and varied. However, among all these films, “The Defiant Ones” stands out as one of his rawest endeavors. In this movie, Sidney Poitier and Tony Curtis are forcibly chained together as fugitive prisoners, compelled to resolve their differences if they want to stay alive. This film masterfully weaves prejudice into a gripping chase narrative, using the politics to propel the story rather than vice versa. While Kramer didn’t always strike this balance perfectly, in “The Defiant Ones,” it works brilliantly.

32nd Academy Awards: 1959

Winner: Ben-HurBest Loser: Anatomy of a Murder

Otto Preminger had a knack for challenging societal norms, as demonstrated by his films such as Anatomy of a Murder, which followed his groundbreaking works like The Moon Is Blue and The Man With the Golden Arm. The former was notable for its frank discussions about sexuality, while the latter tackled drug addiction. Remarkably, Anatomy of a Murder continued this trend, causing quite a stir with its graphic courtroom scenes centered around the topic of rape. The fact that it was Jimmy Stewart, portraying a relaxed lawyer, leading much of these discussions only added to the shock value, and the film was temporarily banned in Chicago. Once taboos are broken, they often find it difficult to return to their former state. Preminger’s straightforward approach to mature themes paved the way for the coming decade, during which the once-untouchable Motion Picture Production Code gradually lost its influence before being replaced by the current ratings system.

33rd Academy Awards: 1960

Winner: The Apartment Best Loser: The Sundowners

In the film directed by Fred Zinnemann, Robert Mitchum portrays a character who seldom reveals his softer side, but here does so in a tale about Irish-Australian nomads traversing the Australian outback. Mitchum’s character’s wandering heart is put to the test by the demands of his wife (Deborah Kerr) and son. The stunning cinematography of Australia’s untamed wilderness makes it clear why one might struggle to settle in one place. The movie, while not overly dramatic, has high stakes and features a humorous supporting role by Peter Ustinov. Despite the presence of classics like The Apartment, this film offers an engaging portrayal of a family’s life filled with both joy and danger.

34th Academy Awards: 1961

Winner: West Side StoryBest Loser: The Hustler

In simple terms, “The Hustler,” directed by Robert Rossen, is a story that explores the cost of success and moral dilemmas in the cutthroat world of pool. This film received nine Academy Award nominations and provided Paul Newman with one of his most iconic roles, a role he would reprise years later in “The Color of Money,” for which he finally won the Best Actor award after six previous nominations. Surprisingly, the movie became a hit, its success fueled by positive reviews and the film’s authentic portrayal of its gritty subject matter. (It may have benefited from Rossen’s past experience as a pool hustler.) Despite being filmed in Cinemascope, the film is characterized by a pervasive sense of confinement. The characters always seem on the verge of being trapped, and more often than not, they are indeed caught.

35th Academy Awards: 1962

Winner: Lawrence of ArabiaBest Loser: To Kill a Mockingbird

Gregory Peck’s portrayal of Atticus Finch in the movie has come to symbolize unwavering American moral strength amidst strong resistance. In this role, Peck depicts Finch as a man who is firmly grounded in right and wrong, yet grapples with the challenge of explaining the harsh realities of life to his children. Just like the film and the Harper Lee novel that inspired it, he embodies hopefulness tempered by realism, understanding the challenges of advocating for justice and acceptance in a world that too often resists these values.

36th Academy Awards: 1963

Winner: Tom JonesBest Loser: How the West Was Won

In essence, the idea of “too big to fail,” initially associated with banking systems, can have applications in other realms as well, like movies. For instance, the film “Cleopatra” was a significant flop in 1963, yet it still managed to receive a Best Picture nomination. It’s worth watching for the sheer spectacle of seeing what vast amounts of money look like on screen. A more compelling example of Hollywood going all out – literally speaking – is “How the West Was Won,” a grandiose film directed by John Ford, Henry Hathaway, and George Marshall. This epic chronicles the development of Western expansion through a series of interconnected stories. While it may not be fully appreciated even on the largest home screens, it’s truly remarkable. This movie was shot in Cinerama, an innovative technique using three cameras, three projectors, and a curved screen that provides an immersive experience, surpassed only by IMAX. It’s a decent film but shines most as a spectacle.

37th Academy Awards: 1964

Winner: My Fair LadyBest Loser: Dr. Strangelove

Stanley Kubrick initially intended to create a straightforward thriller with Dr. Strangelove, yet as he delved deeper into the production, he found the absurdity inherent in Cold War politics and the delicate dance required to prevent mutually assured destruction from escalating into nuclear annihilation. The outcome was a pitch-black comedy where Peter Sellers assumes various roles, portraying a crisis instigated by one man’s mental instability but sustained by the lunacy of the structures surrounding it. Despite its humorous moments, what makes this film chilling – whether now or then – is the unsettling feeling that the world has never been closer to peril than during the depicted crisis.

38th Academy Awards: 1965

Winner: The Sound of MusicBest Loser: Dr. Zhivago

Watching the most prominent films from 1965 meant enduring prolonged periods of immobility. The victor, the musical film “The Sound of Music,” featuring Julie Andrews, lasts a substantial 174 minutes. “Doctor Zhivago,” which shared five nominations with it, runs for 193 minutes. David Lean, who had previously achieved Oscar success with both “Bridge on the River Kwai” and “Lawrence of Arabia,” winning Best Picture and Best Director for each, was not left wanting in this category, but the Academy opted for a lighter choice and awarded “The Sound of Music,” a commercial success that received mixed reviews at the time. Over the years, “The Sound of Music” has grown in popularity, but it would have been honorable to give Lean a third win for his epic portrayal of tumult in Russia, starring Omar Sharif and Julie Christie, an emerging actress who’d later win Best Actress for a different Best Picture nominee, the stylish British morality play “Darling.

39th Academy Awards: 1966

Winner: A Man for All SeasonsBest Loser: Who’s Afraid of Virginia Woolf?

In the realm of movie production, there are both significant and minor threats. Daringly giving control of an intensely raw Edward Albee play, depicting a bleak, alcohol-fueled night in the lives of a middle-aged couple, to a debut director is indeed a considerable gamble. Adding to this risk was the choice of casting popular, youthful, and glamorous movie stars for the roles, initially seeming incongruous. However, Mike Nichols’ adaptation of Who’s Afraid of Virginia Woolf? presented audiences with an unprecedented spectacle, removing the gloss from Elizabeth Taylor and Richard Burton to reveal the raw power of their harsh dialogue as they engage in a bitter evening with a younger couple who become ensnared in the emotional quagmire surrounding them. The risk yielded a nomination, though not the ultimate prize, and pushed the cinematic boundaries in ways that have yet to be retracted.

40th Academy Awards: 1967

Winner: In the Heat of the NightBest Loser: Bonnie and Clyde

1967 saw an array of films that ranged from talking animals to morally questionable characters, offering a snapshot of Hollywood’s state at the time. These nominees were so reflective of their era that they formed the basis for Mark Harris’s insightful book, “Pictures at a Revolution”. Among these, “In the Heat of the Night” emerged as the winner, with its racial prejudice theme woven into a gripping southern thriller. Meanwhile, both “The Graduate” and “Bonnie and Clyde” showcased an innovative Hollywood, shaped by a new generation of filmmakers and influenced by the French New Wave. Of the two, “Bonnie and Clyde” was the most revolutionary, with its unconventional anti-heroes, Warren Beatty and Faye Dunaway portraying infamous Depression-era outlaws, causing quite a stir. Given its impactful nature, let’s consider “Bonnie and Clyde” as our alternate choice, symbolizing the significant shifts happening in its environment.

41st Academy Awards: 1968

Winner: Oliver!Best Loser: The Lion in Winter

In some cases, the category of Best Picture is shaped by what it chooses to exclude. The year 1968 could have seen recognition for films like “2001: A Space Odyssey,” “Faces,” “Rosemary’s Baby,” and many more daring productions. However, the Academy opted for a safer route, bestowing the honor upon the extravagant Dickens musical “Oliver!” and limiting its nominees’ adventurousness as well. The film “The Lion in Winter” was contentious, partly because it seemed like such an unremarkable choice, even leading several critics to resign from the New York Film Critics Circle upon its winning. Although not groundbreaking, the performances of Peter O’Toole and Katharine Hepburn (who would win her second Best Actress award for her role) are exceptional, and the film’s sharp dialogues imbue it with an electric energy that makes it anything but dull.

42nd Academy Awards: 1969

Winner: Midnight CowboyBest Loser: Butch Cassidy and the Sundance Kid

The unexpected triumph of “Easy Rider” signified a significant shift in cinematic direction for the upcoming decade, characterized by a looser, less conventional approach. Despite being overlooked for Best Picture nominations, it joined another trailblazer, Sam Peckinpah’s violent Western “The Wild Bunch”. However, another Best Picture nominee, “Butch Cassidy and the Sundance Kid”, directed by George Roy Hill and starring Paul Newman and Robert Redford, offered a lighter interpretation of the themes presented in “The Wild Bunch”. This film, scripted by William Goldman, utilized a classic genre to delve into the concept of an era’s transition as the turbulent 60s neared their end.

43rd Academy Awards: 1970

Winner: PattonBest Loser: Five Easy Pieces

The 43rd Academy Awards underscored the turbulence sweeping through the cinema industry, as genre-defying films from New Hollywood competed against more conventional productions. In the Best Picture category, groundbreaking movies like “M*A*S*H” and “Five Easy Pieces” squared off against mainstream titles such as “Airport” and “Love Story,” although the latter attempted to elevate its sentimental storyline with avant-garde cinematography. The eventual winner, the incisive biopic “Patton,” didn’t neatly fit into either category, but had “Five Easy Pieces” — a Bob Rafelson-directed film reflecting the unrest and discontent of the ’60s, with Jack Nicholson portraying a man who feels out of place everywhere — likely symbolized the shifting tides.

44th Academy Awards: 1971

Winner: The French ConnectionBest Loser: The Last Picture Show

In 1968, Peter Bogdanovich kick-started his directorial career with the innovative, low-budget thriller “Targets,” but it was a few years later when his rapid rise to fame began with the release of this adaptation of Larry McMurtry’s work. This film depicted a small Texas town and its rebellious youth in the early 1950s. Bogdanovich, who admired and often befriended the directors and actors from the golden age of Hollywood, didn’t simply mimic them. Instead, he created films that merged the past and the present. Shot in black-and-white and drawing inspiration from classic Westerns, “The Last Picture Show” honors Bogdanovich’s inspirations but possesses a unique, New Hollywood vitality and somber mood.

45th Academy Awards: 1972

Winner: The GodfatherBest Loser: Cabaret

In Bob Fosse’s adaptation of John Kander and Fred Ebb’s musical, there are numerous changes from the original source material, such as deleting certain characters and songs, introducing new ones, and expanding the storyline. Despite these differences, it maintains the same foreboding atmosphere as the fading openness and personal freedoms of Weimar-era Berlin under the rise of fascism is captured. Fosse faced challenges in producing a musical during a time when they were not popular, but the inclusion of Liza Minnelli as the lead star provided a sense of continuity. However, unlike the classic Hollywood musicals, Cabaret bears little resemblance to them. Instead, it echoed the emerging glam-rock movement, which embraced it, just as much as it did the MGM spectacles of yesteryears. Those expecting a joyful conclusion were in for a surprise, as the film depicted sexuality and cultural chaos that mirrored the era’s upheaval.

46th Academy Awards: 1973

Winner: The StingBest Loser: Cries and Whispers

Movies from countries other than English-speaking ones are often limited to winning in the Best Foreign Language Film category, but occasionally one transcends this barrier. It’s rather uncommon for the Academy to bestow an award on a film as challenging as Ingmar Bergman’s “Cries and Whispers” – one of his most demanding works – but such recognition would have underscored his significant impact on European cinema during the post-World War II era when many filmmakers were grappling with making sense of the world’s changes. (Admittedly, “The Sting” provides a more enjoyable viewing experience.)

47th Academy Awards: 1974

Winner: The Godfather Part IIBest Loser: The Conversation

If The Towering Inferno hadn’t been included, this collection of Best Picture nominees could arguably be the strongest ever. While Bob Fosse’s Lenny and Roman Polanski’s Chinatown are timeless classics, it was Francis Ford Coppola who truly dominated 1974. With not just one but two Best Picture nominations that year, Coppola’s impact is undeniable. Although giving the second slot to another Coppola film might seem extravagant, The Conversation deserves recognition alongside The Godfather Part II. This film offers a chilling intimacy, contrasting greatly with Coppola’s gangster epics, as it delves into the life of a surveillance expert (Gene Hackman) whose personal boundaries blur while working on an assignment.

48th Academy Awards: 1975

Winner: One Flew Over the Cuckoo’s NestBest Loser: Nashville

As a dedicated fan, I’d say that Robert Altman’s masterpiece, “Nashville,” is an extraordinary endeavor aiming to encapsulate the melancholic essence of post-Watergate America. Over a few bustling days in Music City, USA, where ambition and disillusionment intertwine, this film follows the lives of over two dozen characters. Here, entertainers and politicians cross paths, while dreamers and skeptics coexist.

Altman’s signature style of crafting films from extended, improvised scenes could have easily spiraled out of control — as it occasionally did elsewhere. Yet, in “Nashville,” the outcome is nothing short of breathtaking, seamlessly transitioning from humor to sorrow and culminating in a chaotic frenzy.

49th Academy Awards: 1976

Winner: RockyBest Loser: Taxi Driver

1976 saw the release of a movie that captured the zeitgeist, telling the tale of an underdog boxer, Rocky Balboa, who rose from obscurity, challenged the champion, and though he lost, his valiant effort earned him a moral victory. Compared to this, the journey of Travis Bickle, portrayed by Robert De Niro as a lonely taxi driver who found New York City to be a living inferno, seems more like a struggle than a triumph. Directed by Martin Scorsese and written by Paul Schrader, this film delves into the grim realities seldom explored in cinema. Although the Academy recognized its brilliance with a nomination, they did not award it. However, the haunting portrayal of one man’s descent into darkness has left an indelible mark on our collective consciousness.

50th Academy Awards: 1977

Winner: Annie HallBest Loser: Star Wars

The vague concept of the Outstanding Achievement in Popular Film category might reappear someday, but it’s debatable whether it’s a good idea or not. Movies that captivate the public with their sensational, action-packed, and visually stunning elements often fail to win Best Picture, even when they become iconic moments of their time. The films of 1977, particularly Star Wars, which revolutionized blockbuster filmmaking, became a cultural sensation, and left an indelible mark on a generation, serve as the epitome of this phenomenon. Despite this, the top honor went to Woody Allen’s bittersweet tale of a tumultuous love affair, proving that even groundbreaking films don’t always receive the highest accolade. (Star Wars didn’t disappear after losing the award, however.)

51st Academy Awards: 1978

Winner: The Deer HunterBest Loser: Coming Home

For many years following the fall of Saigon, mainstream films tended to avoid depicting the Vietnam War. However, in 1978, two films that tackled this subject were nominated for Best Picture. Michael Cimino’s “The Deer Hunter” portrayed a harrowing war experience, while Hal Ashby’s “Coming Home” also presented an unflinching perspective, focusing on the domestic struggles of a Marine captain (played by Bruce Dern), his spouse (Jane Fonda), and a disabled veteran (Jon Voight) in California during the late ’60s. The powerful performances and Ashby’s insightful direction, which often synchronized with popular songs from the ’60s before they became overused in soundtracks, effectively captured the emotional turmoil of a nation grappling with its past, present, and future.

52nd Academy Awards: 1979

Winner: Kramer vs. KramerBest Loser: Breaking Away

This tightly focused, small film directed by Peter Yates is a captivating coming-of-age story, primarily centered around Dave (played by Dennis Christopher). A gifted cyclist with a passion for all things Italian, Dave, along with his friends portrayed by Dennis Quaid, Daniel Stern, and Jackie Earle Haley, strives to compete in a significant race and determine his future course. Set and filmed in Bloomington, Indiana, the movie maintains a cheerful mood while subtly addressing the restricted opportunities faced by working-class children who once helped construct the college town that now overlooks them.

53rd Academy Awards: 1980

Winner: Ordinary PeopleBest Loser: The Elephant Man

In the same vein as “How Green Was My Valley” beating “Citizen Kane”, Martin Scorsese’s intense “Raging Bull” losing to Robert Redford’s “Ordinary People” is often cited as an instance where the Oscars may have made a mistake. However, it’s important to note that “Ordinary People” is indeed an excellent film in its own right. Since another Martin Scorsese film has already secured one of our spots (and will secure another below), let’s highlight “The Elephant Man”, directed by David Lynch. This film tells the heartwarming story of John Merrick, a man with physical deformities who was exhibited in a Victorian freak show, and his friendship with Dr. Frederick Teaves, portrayed by Anthony Hopkins. A poignant costume drama that also bears the unique style of David Lynch, it combines striking black-and-white cinematography with empathy for outcasts everywhere.

54th Academy Awards: 1981

Winner: Chariots of FireBest Loser: Reds

Warren Beatty’s long-awaited passion project, “Reds,” showcases the grandeur of a Hollywood epic while exploring an unconventional topic: the life of Jack Reed (portrayed by Beatty), a journalist renowned for his work on “Ten Days That Shook The World” about Russia’s October Revolution. This film, which aspires to greatness in every aspect, combines an illustrious cast that includes Diane Keaton and Jack Nicholson, elegant narrative storytelling, and documentary interviews with individuals who knew Reed and his associates. It won Beatty the Best Director award, but the elusive Best Picture accolade remained out of reach, possibly due to the film’s reluctance to offer simplistic interpretations about the radical ideas it presents.

55th Academy Awards: 1982

Winner: GandhiBest Loser: E.T. the Extra-Terrestrial

In a unique blend of fairy tale elements and science fiction, Steven Spielberg’s E.T. the Extra-Terrestrial presents an enchanting tale set in suburban America, where ordinary life hides extraordinary secrets. The story revolves around a friendly alien who finds shelter with a family dealing with the aftermath of divorce. For many years, this film held the title of the highest-grossing movie ever made, demonstrating the profound emotional depth and breathtaking visual beauty of its narrative. Spielberg’s effortless storytelling at this stage in his career was nothing short of masterful. The numerous imitations that followed served as a testament to the fact that such skill wasn’t as simple as it appeared on screen.

56th Academy Awards: 1983

Winner: Terms of EndearmentBest Loser: The Right Stuff

Drawing inspiration from Tom Wolfe’s book chronicling the early days of the American space program, Philip Kaufman crafted a film that seamlessly blended grandiosity with humor. This cinematic masterpiece highlighted the peril of space travel (and the precursor test-pilot programs) as well as the absurdity of the political landscape that fueled its inception, the spectacle of the original astronauts and their spouses, and the media frenzy surrounding them. Essentially, Kaufman’s film mirrored Wolfe’s distinctive tone, offering an authentic portrayal of both extraordinary accomplishments and the imperfect individuals who made them possible.

57th Academy Awards: 1984

Winner: AmadeusBest Loser: Places in the Heart

Sally Field’s heartfelt acceptance speech after winning Best Actress for her exceptional performance in “Places in the Heart” left an indelible mark on the Oscars, a moment destined to be remembered as one of the ceremony’s highlights until its very end. The film was more than deserving of the accolades, and it wouldn’t have been surprising if it had also taken home the Best Picture award. Directed by Robert Benton (famous for “Kramer vs. Kramer”) and beautifully captured by Néstor Almendros, the film tells a poignant story of a widow (Sally Field) who creates an unlikely family with a blind tenant (John Malkovich) and a homeless man (Danny Glover) in a bigoted Depression-era Texas town. Benton, drawing from his own experiences growing up in Texas, infused the movie with a complex blend of affection for and disdain toward the place that shaped him, a feeling that permeates the film from start to finish.

58th Academy Awards: 1985

Winner: Out of AfricaBest Loser: Prizzi’s Honor

Throughout his entire career, spanning from the start until his passing in 1985, John Huston stood out among directors for his unwavering enthusiasm and eagerness to take risks. His final film before retirement, Prizzi’s Honor, gained both critical acclaim and popularity, but it could have easily been a flop without a director who was adept at blending comedy, tension, and romance, or one who was ready to settle for a less bold conclusion – although the presence of stars like Jack Nicholson, Kathleen Turner, and Anjelica Huston (his daughter) undoubtedly contributed to its success as well.

59th Academy Awards: 1986

Winner: PlatoonBest Loser: A Room With a View

Between the 1960s and the early 2000s, the team composed of producer Ismail Merchant, director James Ivory, and screenwriter Ruth Prawer Jhabvala produced finely crafted films for art-house audiences, frequently based on literature that captured a lifestyle long past. Their work reached its peak in commercial and critical acclaim during the 1980s and early 1990s, starting with this captivating adaptation of E.M. Forster’s work, featuring Helena Bonham Carter, Daniel Day Lewis, Judi Dench, and Maggie Smith. In A Room With a View, you’ll find breathtaking Florentine landscapes, exquisite costumes, and beautifully portrayed emotions of longing and constraint – everything required for a Forster adaptation, with a cast that is hard to surpass. Despite being stereotyped as conventional filmmakers, their finest works teemed with intellect and emotion.

60th Academy Awards: 1987

Winner: The Last EmperorBest Loser: Broadcast News

James L. Brooks’ movie, “Broadcast News,” is a humorous yet profound exploration of a complex relationship and the influence of mass media. This masterpiece is born from Brooks’ extensive research and years of perfecting dialogue and character development through his work in films and television. Albert Brooks and Holly Hunter play central roles as journalists and producers in TV news, whose relationship becomes more complicated with the arrival of an attractive, inexperienced, and charming new reporter (William Hurt). As the story unfolds, it subtly hints at the chilling future of journalism.

61st Academy Awards: 1988

Winner: Rain ManBest Loser: Working Girl

Movies that frequently struggle to win the Best Picture Oscar, especially in recent decades, often include comedies, romantic comedies, and films with a female-centric focus over males. For instance, Mike Nichols’ film Working Girl, featuring Melanie Griffith as she navigates sexism on her corporate ladder climb while dealing with a deceitful boss (Sigourney Weaver), is one such example. Despite being an intelligent and successful comedy from the decade, it could still be a surprise contender for the year’s awards due to its subject matter. Griffith shines in this role, showcasing her character’s blend of intelligence and Staten Island tenacity at their best.

62nd Academy Awards: 1989

Winner: Driving Miss DaisyBest Loser: Born on the Fourth of July

In the 1980s, Oliver Stone was known for his lavish cinematic style and grand gestures, but with the film “Born on the Fourth of July” released in 1989, he crafted one of the best movies of that decade, a late addition to a series of ’80s films dealing with the impact of the Vietnam War. Stone had previously delved into this topic with his semi-autobiographical and Oscar-winning film “Platoon,” but in “Born on the Fourth of July,” he uses the life story of Ron Kovic, a Marine who became an antiwar activist after being injured in Vietnam and living as a paraplegic. Tom Cruise delivers a powerful portrayal of Kovic, stripping away his usual movie-star charisma to show vulnerability on screen for the first time in a way that has been rare for him since then.

63rd Academy Awards: 1990

Winner: Dances With WolvesBest Loser: Goodfellas

Approximately ten years after creating one of his finest movies and missing out on the Best Picture Oscar to a newcomer director’s debut work, Martin Scorsese achieved it once more. While ‘Goodfellas’ didn’t win the award, it could easily serve as an excellent substitute, evolving into one of the most respected and frequently imitated films of the 1990s. This film masterfully portrays the thrilling allure of lawlessness and the lingering anxiety that comes with staying too deeply entangled in criminal activities for a prolonged period.

64th Academy Awards: 1991

Winner: The Silence of the LambsBest Loser: Beauty and the Beast

Among the cherished Disney animations that revitalized the industry in the late 1980s, “Beauty and the Beast” gained attention as the first animated movie to be nominated for Best Picture. It was the only such film to receive this distinction until 2009, marking a time when Disney, Pixar, and other studios had successfully transformed animated films from being primarily children’s entertainment into more sophisticated productions. Blending traditional hand-drawn animation with some computer-enhanced effects, “Beauty and the Beast” serves as a bridge connecting the past and future of animation.

65th Academy Awards: 1992

Winner: UnforgivenBest Loser: The Crying Game

Neil Jordan’s “The Crying Game” is often discussed for its surprising twist, which overshadows other captivating aspects of the movie. While the shocking revelation is undeniably memorable, it’s only one piece of a multi-layered political thriller. The story unfolds as an IRA member (Stephen Rea) forms a connection with a British soldier (Forest Whitaker) he abducts – a bond that compels him to keep his word and care for the soldier’s London girlfriend (Jaye Davidson). The film effectively combines elements of suspense and exploration, delving into the fluidity of identity on various levels, including national, ideological, sexual, and more.

66th Academy Awards: 1993

Winner: Schindler’s ListBest Loser: The Fugitive

In a daring move, the film “The Fugitive” seems like an experiment: What if we made a movie that was essentially one prolonged chase sequence? Could it be engaging? Could it retain depth? Director Andrew Davis took on this challenge by adapting a popular ’60s TV series and casting heavyweight actors. Harrison Ford played the falsely accused man fleeing for his life, while Tommy Lee Jones portrayed the relentless law enforcement officer hot on his trail. This high-octane action movie was even nominated for Best Picture, and it’s not difficult to imagine it winning (particularly in years when “Schindler’s List” didn’t dominate from its premiere).

67th Academy Awards: 1994

Winner: Forrest GumpBest Loser: Pulp Fiction

Quentin Tarantino (alongside Roger Avary) only received the award for Best Original Screenplay at that time for the groundbreaking film “Pulp Fiction”. Whether you view “Forrest Gump” as an emotional tribute to the baby boomer era or a clever satire of it, “Pulp Fiction” had more impact on predicting our cultural future than reminiscing about our past. It’s worth noting that “Pulp Fiction”, like the Robert Zemeckis-directed winner, also has roots in the past, but its unique blend of sincere appreciation and irony allowed it to modernize and redefine genre conventions and B-movie excitement for a new audience.

68th Academy Awards: 1995

Winner: BraveheartBest Loser: Babe

In an unusual twist, the year 1995 presented an opportunity for the Academy to honor two radically different films in a single year. Instead of choosing a film about masculine sacrifice and vengeance, they could have selected “Babe”, a movie that promotes empathy, understanding, and communication through the story of a pig who takes on the role of a sheepdog despite not knowing he’s supposed to. Although the Academy didn’t make this choice, in our hypothetical scenario, we can imagine how it might have been.

69th Academy Awards: 1996

Winner: The English PatientBest Loser: Fargo

Billy Crystal humorously addressed the crowd at the Oscars he referred to as “Sundance by the Sea,” during a year that saw independent filmmaking thrive. This trend was evident even in the Best Picture category, where four out of five nominees were produced outside of the major studios. The prestigious award was given to “The English Patient,” a film that owes much to classic Hollywood filmmaking. However, Joel and Ethan Coen’s “Fargo” could have just as easily won. This movie, made beyond the traditional Hollywood system, broke the usual rules and garnered attention for its story about a pregnant police officer investigating a murder in the Midwest, which was both approved for production and found a passionate audience.

70th Academy Awards: 1997

Winner: TitanicBest Loser: L.A. Confidential

James Ellroy’s novels, known for their intricate storylines and raw, historically accurate portrayal of racial attitudes and language, have been challenging to adapt. However, Curtis Hanson managed to solve this puzzle with his adaptation of one of Ellroy’s best works. He simplified the plot, toned down the racism while preserving its essence, and in Guy Pearce and Russell Crowe, two relatively unknown Australian actors at the time, he found the ideal portrayal of Ellroy’s morally complex protagonists. The outcome was a modern interpretation of classic noir themes, set against a gritty backdrop of old Los Angeles. It feels as though it was plucked straight from the pages of an Ellroy novel, where one misstep could lead anyone to a downward spiral.

71st Academy Awards: 1998

Winner: Shakespeare in LoveBest Loser: Saving Private Ryan

Similar to Schindler’s List, it was widely expected that Saving Private Ryan, a critically acclaimed film on a significant historical topic from a renowned director, would take home the Best Picture award upon its release. However, quite unexpectedly, it lost out to Shakespeare in Love, a light-hearted production by the Weinstein brothers’ Miramax at the peak of its power. It still seems peculiar that a delightful film like Shakespeare in Love managed to win over one of Steven Spielberg’s most notable works in his career. Yet, in our universe where Oscars are concerned, correcting this outcome might be as simple as flipping a coin.

72nd Academy Awards: 1999

Winner: American BeautyBest Loser: The Sixth Sense

1999 was an extraordinary year for cinema, producing one groundbreaking film after another, ranging from “Three Kings” to “Fight Club”, “Magnolia”, “Being John Malkovich”, “The Blair Witch Project” to “The Matrix”. Emerging directors like Spike Jonze and David O. Russell were solidified as significant talents with these films, while others, such as “The Matrix”, pushed boundaries with their innovative special effects. However, the year’s Best Picture nominees failed to capture the essence of this cinematic revolution. “American Beauty” wasn’t a risky bet for the win, but it hardly stood out as the most creative film of the year. Similarly, “The Cider House Rules”, “The Green Mile”, and even “The Insider”, a brilliant Michael Mann movie, lacked the daring spirit of newer directors. Among the nominees, “The Sixth Sense” offered the best glimpse into the broader film world. Crafted with precision by an unknown director, M. Night Shyamalan, this seemingly unexpected supernatural drama captivated audiences through its surprising plot twist, but the success of the twist relied heavily on Shyamalan’s dedication to filmmaking and the nuanced performances by Bruce Willis and Haley Joel Osment.

73rd Academy Awards: 2000

Winner: GladiatorBest Loser: Crouching Tiger, Hidden Dragon

If the Best Picture award in 2000 was intended for an action film with poetic undertones, Ridley Scott’s “Gladiator” and Ang Lee’s “Crouching Tiger, Hidden Dragon” were the clear contenders. However, they opted for the one that prioritized action over lyricism. In Lee’s contemporary take on his childhood favorite wuxia films, martial arts serve as a means of communication, with captivating fight sequences conveying a tale of tragic love featuring Chow Yun-fat and Michelle Yeoh.

74th Academy Awards: 2001

Winner: A Beautiful MindBest Loser: In the Bedroom

Typically, big productions tend to triumph at the Oscars, leaving independent films struggling to keep pace with heavily funded studio projects. Despite receiving critical acclaim and numerous nominations, In the Bedroom was largely overlooked. This film, which marked Todd Field’s directorial debut and was the first Sundance selection to be nominated for Best Picture, is a poignant portrayal of violence and its repercussions. The story follows the disintegration of a content married couple (portrayed by Tom Wilkinson and Sissy Spacek) after their son’s murder. The narrative is subtly told with sensitivity and an unwavering dedication to exploring challenging themes, which make it exceptional, albeit possibly reducing its chances of winning awards.

75th Academy Awards: 2002

Winner: ChicagoBest Loser: Gangs of New York

Martin Scorsese would eventually earn an Oscar for “The Departed” a few years down the line, but it could have been equally deserved for this New York-set tale starring Leonardo DiCaprio and Daniel Day-Lewis. Although the movie has some issues, especially toward the end, its grandeur and dedication to authenticity in portraying 19th-century Manhattan, capturing every gritty detail, make it one of the final examples of traditional epics. This was before digital effects like green screens and CGI made historical depictions feel less tangible and frequently less engrossing.

76th Academy Awards: 2003

Winner: The Lord of the Rings: The Return of the KingBest Loser: Lost in Translation

The lingering doubts about Sofia Coppola following her 1999 debut The Virgin Suicides were dispelled by this tale involving a young woman, played by Scarlett Johansson, who is unsure about herself and her life. Stranded in Tokyo, she encounters a middle-aged actor (Bill Murray) amidst a midlife crisis. Their relationship evolves as they spend more time together, and despite their confusion about the nature of their bond, they develop an unspoken connection. Coppola’s confident second film thrives on this ambiguity and the liminal existence of its protagonists, two individuals who may not meet again but whose fleeting encounter leaves a lasting impact on how they perceive the world forever.

77th Academy Awards: 2004

Winner: Million Dollar BabyBest Loser: Sideways

As a movie reviewer looking back on Alexander Payne’s masterpiece, Sideways, I must commend the film for giving California wine country and its industry a significant economic boost following its release. However, the film doesn’t romanticize the wine obsession of its protagonist, Miles (brilliantly portrayed by Paul Giamatti), instead treating it as a reflection of his deeper struggles.

Miles, a divorced, middle-aged writer with a penchant for excessive drinking on occasion, is not just a wine lover; he’s a man trapped in a rut. Even a weekend getaway to his favorite vineyards with his successful best friend Jack (Thomas Haden Church) can’t break the cycle. Miles is a mess, painfully aware of it, and yet, he’s not unbearable to watch because of Giamatti’s extraordinary performance.

Giamatti breathes life into Miles, making him prickly yet vulnerable. His portrayal reveals Miles’s humanity and a faint, enduring hopefulness that resonated with audiences in the following decade, bringing the best aspects of ’90s indie film character-driven narratives to a wider audience.

78th Academy Awards: 2005

Winner: CrashBest Loser: Brokeback Mountain

Initially, we clarified that this compilation might not consist of films that should have triumphantly outshone less worthy victors. However, we’ll make an exception for the movie “Crash“, which, unfortunately, is far from exceptional – it provides a shallow and heated portrayal of racism, ultimately arriving at simplistic conclusions. On the other hand, “Brokeback Mountain” tackles another form of prejudice by telling a poignant love story. Director Ang Lee emphasizes the characters, brilliantly portrayed by Jake Gyllenhaal and Heath Ledger, and their longings, as well as the sorrow arising from a society that seeks to keep them apart. Disregarding its significance as a groundbreaking film introducing a gay love narrative to mainstream audiences, it is a profoundly emotional and masterfully executed movie, and its qualities become even more striking when compared to the year’s chosen winner.

79th Academy Awards: 2006

Winner: The DepartedBest Loser: Letters From Iwo Jima

Martin Scorsese ultimately won a Best Picture award for “The Departed” in 2006, as well as a Best Director accolade, but it’s also plausible that the Academy might have awarded Clint Eastwood with three trophies for his second film of that year – “Letters from Iwo Jima”. While “Flags of Our Fathers”, which recounts the American perspective of the Battle of Iwo Jima during WWII, is noteworthy, its counterpart, “Letters from Iwo Jima”, is even more impactful. This film offers a unique perspective on the battle by depicting it from the Japanese forces’ point of view, shedding light on the harsh conditions under which they fought and the unyielding ideology that led them into battle.

80th Academy Awards: 2007

Winner: No Country for Old MenBest Loser: There Will Be Blood

Occasionally, do you struggle to recall which movie, either “No Country for Old Men” or “There Will Be Blood,” took home the Oscar for Best Picture in 2007? You’re not alone, as both films are challenging and violent, featuring chilling, powerhouse performances by talented actors. They both delve into the darkness that lies within different eras of American history. In reality, “No Country” was the recipient of this honor, but in our imaginary scenario, we’d award it to Paul Thomas Anderson’s film instead.

81st Academy Awards: 2008

Winner: Slumdog MillionaireBest Loser: Milk

In a different wording: Gus Van Sant’s biographical movie about Harvey Milk, a gay rights pioneer who was assassinated, could have easily slipped into common biopic pitfalls – either overemphasizing its subject’s world-changing impact or portraying him as an overly idealized saint. However, the film Milk, powered by a heartfelt performance by Sean Penn, avoids both of these traps. Instead, it presents Milk’s journey into activism, his political ascension, and his tragic murder at the hands of a fellow politician in a way that makes history feel personal. The movie effectively conveys, without explicitly stating, how one individual can spark initial changes leading to broader transformations in society.

82nd Academy Awards: 2009

Winner: The Hurt LockerBest Loser: Up

As a cinephile, it’s quite surprising that during Pixar’s golden era, none of their films were awarded the Best Picture Oscar. While “Up” might not be their finest production, it stands out as the most deserving among those nominated for this prestigious award. Don’t get me wrong, “Toy Story 3” is an exceptional film, but it can’t compare to the original “Toy Story.” The heart-wrenching opening scene alone showcases some of Pixar’s finest storytelling, and the rest of the movie is equally impressive, particularly for those who appreciate canine characters with a knack for conversation.

83rd Academy Awards: 2010

Winner: The King’s SpeechBest Loser: The Social Network

As a movie critic looking back on the cinematic landscape of the early 2010s, I must admit that watching “The Social Network” felt like capturing history in mid-flight. Initially, it might seem that the film, released in 2010, was too soon to tell the full story of Facebook and its founder Mark Zuckerberg. However, as the new decade dawned, the profound impact of Facebook on our society became increasingly apparent, making Zuckerberg’s tale a compelling one to be shared.

The film’s success is largely due to the masterful collaboration between screenwriter Aaron Sorkin and director David Fincher. Their partnership created a captivating narrative that traces Facebook’s meteoric rise from an idea to an unstoppable cultural force, while also following Zuckerberg’s transformation from a brash young visionary to a powerful mogul grappling with the world he helped create.

In essence, “The Social Network” offers an insightful and engaging exploration of the intersection between technology, ambition, and human connection – themes that remain as relevant today as they were a decade ago.

84th Academy Awards: 2011

Winner: The ArtistBest Loser: The Tree of Life

In creating his masterpiece, “The Tree of Life”, Terrence Malick aimed to narrate a tale as small as a mid-20th century Texas boy’s maturation, which mirrors some aspects of his own life, and as vast as the story of creation to the hereafter. By blurring these boundaries, he makes this single life encompass all joy, pain, and anguish, symbolizing the entirety of existence. This film is less about a plot and more about visuals, emotions, and poignant moments, leaving viewers to piece together the missing narrative threads. Despite Malick’s difficulties in replicating this impactful style in later works, it shines brilliantly here, appearing as if it was the movie he had been eagerly preparing to make throughout his career, driven by a desire to comprehend the significance of that lifetime.

85th Academy Awards: 2012

Winner: ArgoBest Loser: Zero Dark Thirty

I’ve always found “Zero Dark Thirty,” Kathryn Bigelow’s gripping portrayal of the hunt for Osama bin Laden, to be a fascinating blend of fact and introspection about the moral compromises made by the U.S. in the wake of 9/11. It was often misconstrued before its premiere and even more so after, but I believe it stands as a compelling depiction of history and a thoughtful examination of our nation’s ethical choices. The price of revenge is heavy, a lesson Jessica Chastain conveys powerfully through her haunting portrayal of Maya, a relentless CIA analyst, in the somber final scene that leaves an unsettling impact, rivaling any of the intense action sequences preceding it.

86th Academy Awards: 2013

Winner: 12 Years a SlaveBest Loser: Gravity

Alfonso Cuarón is exceptional at merging bold technical innovations with compelling storytelling, and the movie “Gravity” provided him with an opportunity to take both aspects to their extremes. By stranding Sandra Bullock in space, the film showcases her growing efforts to return home. “Gravity” stands out as a spectacular special effects masterpiece that is best appreciated on the largest screen (one of the rare post-“Avatar” films to effectively utilize 3D). However, its impact stems not only from Bullock’s portrayal of a woman fighting to survive in harrowing conditions but also from her character’s emotional turmoil resulting from a deep sense of loss. Cuarón’s visuals would have been unattainable in any previous era, yet the film’s themes transcend time.

87th Academy Awards: 2014

Winner: BirdmanBest Loser: Boyhood

In contrast to Alexander Iñárritu’s “Birdman (or the Unexpected Virtue of Ignorance)” which created an optical illusion of being filmed in one continuous take, Richard Linklater’s “Boyhood” manipulated time in a unique way. Filmed over a span of 12 years, this film follows the growth of a Texas boy through a collection of carefully selected scenes, known as vignettes. The film is intriguing because Linklater skillfully narrates a story in an unprecedented manner, while simultaneously depicting a changing America in the background (notice the vintage iMacs! Remember Harry Potter book release parties?). However, it’s the film’s success that stems largely from Linklater, as always, allowing depth to emerge naturally instead of forcefully seeking it. We witness Mason (Ellar Coltrane) go through some milestones, but primarily we observe ordinary yet significant moments as he matures and finds himself. There has never been a film quite like “Boyhood”, and it’s unlikely that another one will ever be made in the same way.

88th Academy Awards: 2015

Winner: SpotlightBest Loser: Mad Max: Fury Road

Tom McCarthy’s “Spotlight,” a portrayal of the Boston Globe’s Pulitzer-winning probe into child sex abuse, showcases brilliant, straightforward, and solemn cinematic craftsmanship. On the other hand, George Miller’s “Mad Max: Fury Road” offers an almost insane production, filmed under harsh conditions and set in a vibrant, speed-obsessed post-apocalyptic landscape. Yet, despite its contrasting nature, Miller’s film is, in essence, a masterclass in compelling storytelling. It immerses viewers into a brutal, chaotic, resource-scarce wasteland, relying on them to quickly adapt as it pits two heroes (Tom Hardy and Charlize Theron) against oppressive rulers. Essentially, it’s a blend of extravagance and purpose, combining striking visuals with deep emotions.

89th Academy Awards: 2016

Winner: MoonlightBest Loser: Manchester by the Sea

At the 89th Academy Awards, the announcement for Best Picture was incorrectly given to “La La Land,” a film that had been anticipated to win for much of the competition. In truth, the award belonged to the exceptional movie “Moonlight.” Despite “La La Land” being a skillfully made and musically engaging film that hasn’t warranted the criticism it’s received, it’s commendable that the Academy chose an unusual coming-of-age story from a new director that brought attention to underrepresented areas in cinema. If not for “Moonlight,” Kenneth Lonergan’s “Manchester by the Sea” would have been another worthy choice: a heartrending tale of loss, powerfully portrayed by a cast led by Casey Affleck, with some well-placed lighter moments.

90th Academy Awards: 2017

Winner: The Shape of WaterBest Loser: Lady Bird

Reflecting on the 2017 Best Picture nominations, it seems we’re in for another year brimming with richness and diversity. The recognition of Guillermo del Toro’s “The Shape of Water” (which emerged victorious) and Jordan Peele’s “Get Out” (a strong contender according to many experts) indicates that the boundary between prestige and genre films is becoming increasingly indistinct. Moreover, the persistence of Paul Thomas Anderson and Christopher Nolan in the running underscores their unwavering commitment as visionary filmmakers. However, my personal favorite, Greta Gerwig’s “Lady Bird,” was an unexpected delight. Although she had previously co-written and co-directed films, her solo directorial debut, “Lady Bird,” was a pleasant surprise, offering a poignant portrayal of growing up in a specific time and place (Sacramento during the early 2000s). This autobiographical coming-of-age story managed to resonate universally. The film showcased heartfelt performances from its entire cast, but Saoirse Ronan and Laurie Metcalf truly shone as a mother and daughter whose complex relationship was both strained and loving. While other nominees aimed for grandiosity, Gerwig demonstrated that subtlety could be just as impactful.

91st Academy Awards: 2018

Winner: Green BookBest Loser: Roma

Occasionally, there’s an unexpected twist when a movie that seems unlikely to win takes home the Best Picture award, such as “Wait, what? Dances with Wolves beat Goodfellas?” This feeling struck viewers almost instantly upon seeing Green Book. Some might wonder, “Wait, what? Green Book beat BlacKkKlansman / Black Panther / A Star is Born / The Favourite?”

However, Alfonso Cuarón’s deeply personal film, Roma, stands out as a unique exception. Instead of telling the story through his own eyes, it takes us on a journey through the past seen through the eyes of its protagonist, portrayed by first-time actress Yalitza Aparicio. This one-of-a-kind movie is shot in stunning black and white, and it challenges the idea that the past should be romanticized or remembered only fondly. Instead, it acknowledges the enduring influence of the past on the present without being confined by nostalgia or idealized memories.

Unlike Green Book, which seems content to view the past as settled history rather than an ongoing narrative, Roma powerfully demonstrates that remembering can be both painful and enlightening.

92nd Academy Awards: 2019

Winner: ParasiteBest Loser: Once Upon a Time … in Hollywood

The victory of Bong Joon Ho’s Parasite as Best Picture came as quite an unexpected turn, for several reasons. Firstly, the fact that a foreign-language film had previously never won this top prize made the honor all the more surprising. Secondly, it seemed peculiar that the Academy would get it so right in 2019, just a year after a misstep in their selection process. Predictions pointed towards Sam Mendes’s 1917, but the exceptional cinematic offerings of 2019 provided a diverse range of excellent options, many of which received nominations. In hindsight, it feels strange how swiftly the buzz around Martin Scorsese’s poignant film The Irishman, Greta Gerwig’s innovative adaptation of Little Women, and Noah Baumbach’s insightful divorce drama Marriage Story seemed to fade away. All three could have had strong runs in other years and will undoubtedly be remembered long after the awards season concludes. Quentin Tarantino’s Once Upon a Time … in Hollywood is also destined for lasting recognition, as it represents Tarantino (previously an independent outsider, now a seasoned industry veteran) recreating the Los Angeles of his youth and using the tale of friendship, aging, and insecurity to reflect upon a pivotal moment in film history. The movie allows Tarantino to mostly set aside his preoccupation with revenge narratives that have characterized his 21st-century work, resulting in a humorous, introspective film about the passage of time, the fading of dreams, and the small victories derived from creating art within a system that doesn’t always appreciate it – a quality that makes it as much about Hollywood’s present and future as its past.

93rd Academy Awards: 2020

Winner: NomadlandBest Loser: Minari

https://youtube.com/watch?v=watch?v=hcnnXp8xzHA

2020 was an exceptional year when it comes to Best Picture nominees, as many of the films seem destined to become timeless classics. Movies like “Promising Young Woman,” “The Father,” and “Judas and the Black Messiah” are either sparking heated debates or becoming hidden gems. Among these outstanding contenders, “Minari,” directed by Lee Isaac Chung, stands out as a film that offers layers of depth, making it an excellent choice for repeat viewings. The story unfolds around South Korean immigrants, Jacob (Steven Yeun) and Monica (Han Ye-ri), who are attempting to start a new life as farmers in the American Midwest during the 1980s. As they face challenges that strain their relationship, the film delves into universal themes of family and community through its specific portrayal of a particular time and place—one that resonates with Chung’s own upbringing. Youn Yuh-jung won Best Supporting Actress for her role as a grandmother whose behavior confuses young David (Alan Kim), but the entire film is woven around memories of childhood that only become clearer with time.

94th Academy Awards: 2021

Winner: CODABest Loser: The Power of the Dog

Was it indeed the Academy who chose CODA as the Best Picture winner at the 94th Oscars? I find myself struggling to recall any details from that night. Yet, if it’s true, then congratulations to CODA. Its heartwarming narrative, well-executed acting, and universal appeal make it a fitting choice. However, selecting it over Jane Campion’s intricate, thought-provoking, darkly humorous The Power of the Dog, which delves into the destructive aspects of toxic masculinity in the waning days of the Old West, feels more like a decision driven by convenience rather than a recognition of artistic excellence.

95th Academy Awards: 2022

Winner: Everything Everywhere All at OnceBest Loser: Tár

The 95th Academy Awards will be notable for the overwhelming victory of the universally adored, grandiose, and emotionally intense film “Everything Everywhere All at Once”. This movie is expected to be one of the defining films of 2022, offering a blend of family drama and wide-ranging action-adventure that bridges art house and multiplex cinema. Although the Best Picture category was filled with worthy nominees poised for future discussions, Todd Field’s “Tár” most effectively encapsulates something intangible about the present day. In portraying the story of Lydia Tár (Cate Blanchett), a renowned composer and conductor who faces personal ruin, Todd Field’s film instills a feeling of persistent discomfort. Lydia’s downfall is self-inflicted, yet it also hints at how quickly our lives can crumble and a chilling reminder that the way we perceive ourselves may differ greatly from others’ perceptions. Although its themes are rooted in Me Too and center on one complex, flawed character’s elite lifestyle, its portrayal of a life unraveling is unsettling in ways that transcend its origins.

96th Academy Awards: 2023

Winner: Oppenheimer

Best Loser: Killers of the Flower Moon

Oppenheimer, since the notable Barbenheimer convergence in July 2023, appeared to be a strong contender for Best Picture due to its heavy subject matter and Christopher Nolan’s direction, who had previously been overlooked by the Academy Awards. The film was also an impressive production in every aspect, making it simpler for voters to award it multiple prizes, including categories for Nolan, Robert Downey Jr., and Cillian Murphy. However, another late-career masterpiece from a renowned American director, Martin Scorsese, proved too powerful a competitor. Despite not winning the awards it deserved, films like Raging Bull and GoodFellas have endured in Scorsese’s filmography, and so will Killers of the Flower Moon. This movie, based on David Gann’s book, portrays a series of murders among the Osage tribe resulting from a conspiracy to steal their oil wealth. It is a haunting portrayal of audacious crime shielded by wealth and privilege, featuring outstanding performances from Leonardo DiCaprio and Robert De Niro, who have worked extensively with Scorsese, as well as a captivating performance from Lily Gladstone as Mollie, an Osage woman whose relationship with one of the conspirators highlights both the atrocity of the crimes and the strong family and community bonds they violated in pursuit of greed.

97th Academy Awards: 2024

Winner: Anora

Best Loser: Nickel Boys

https://youtube.com/watch?v=watch?v=-2qZ429rUZw

At the 97th Academy Awards, a record ten films vied for the Best Picture award, indicating an abundance of high-quality contenders, making the race particularly tight and unpredictable. It wasn’t until Oscar night that a clear winner began to emerge, as Anora amassed victory after victory, edging out its main competitors, The Brutalist and Conclave. Despite being nominated, RaMell Ross’s Nickel Boys, an adaptation of Colson Whitehead’s Pulitzer-winning 2019 novel about the harrowing experiences of two Black teens in a Florida reform school during the civil rights movement, never seemed to be in serious contention. The film, which employs innovative first-person cinematography to bridge the gap between viewers and the movie itself, was initially overlooked upon release; however, its extraordinary quality seems poised to ensure it’s more than a mere footnote in cinematic history.

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2025-03-03 22:05