Who Won Oscar Night? – Minority Mindset

The 98th Academy Awards are over, and the excitement – and debates about which film deserved to win – have died down. (Both One Battle and Sinners were excellent, it seems!) The talented people who work behind the scenes on movies are back at their jobs, and Jessie Buckley’s family has likely returned home to Ireland. (A quick note: the Tree House Cafe in the Dublin airport serves a fantastic full Irish breakfast after a long flight!) After losing my voice during the show on Sunday night, it’s finally back. Before we take a short break, let’s recap the biggest winners from the ceremony, starting with the film that won the most awards:

Paul Thomas Anderson

Wow, what a night for Paul Thomas Anderson! He just blew past filmmaking legends like Altman and Scorsese at the Oscars, snagging three trophies and cementing his status as a true heavyweight. It feels like he’s officially been welcomed into the inner circle. The big question now is: will someone give him another massive budget? I’m hearing whispers about a potential adaptation of Thomas Pynchon’s The Crying of Lot 49, but honestly, will audiences even tune in if they didn’t see whatever comes first? Or, knowing PTA, will he pull a move like he did after Magnolia or There Will Be Blood and go for something smaller, more personal and introspective? That’s always a possibility, and frankly, I’d be just as excited.

Michael B. Jordan

You might have noticed our initial headline after the Best Actor announcement focused on Timothée Chalamet’s loss instead of Michael B. Jordan’s win. That’s because the article was written in advance, and while I expected Timothée to lose, I wasn’t as confident about who would win. So, let’s acknowledge Jordan’s well-deserved victory. Many of us underestimated him, possibly because the movie Sinners has a complex storyline. As Wesley Morris pointed out before the ceremony, after watching the film three times, he realized it wasn’t just Jordan’s acting that was captivating, but the genuine heart he brought to the role.

Michael B. Jordan’s win at the Screen Actors Guild Awards, just two weeks before the Oscars, significantly shifted the best actor conversation. Some voters who were leaning towards Cillian Murphy but still wanted to acknowledge Jordan’s performance in Sinners now saw Jordan as a strong contender who could win an additional award. Unlike Timothée Chalamet’s highly publicized and self-focused campaign, Jordan’s acceptance speech was classic Oscar material – sincere and appreciative, mirroring the positive and welcoming spirit of the Sinners team. This made him very appealing to voters. Moreover, while Chalamet was being positioned as Hollywood’s latest star, Jordan has been a consistently successful leading man for a longer period and is also establishing himself as a talented director. An industry insider told Kyle Buchanan before the Oscars that a Jordan win would be beneficial for the film industry as a whole – and what studio wouldn’t want to advertise a film as being ‘From Oscar winner Michael B. Jordan’?

Ryan Coogler

Last spring, when considering the potential success of Sinners, I wondered if director Ryan Coogler was following a path similar to Christopher Nolan – moving from directing popular superhero films to becoming a critically acclaimed, Oscar-winning filmmaker. It seems Sinners served a purpose similar to Nolan’s Dunkirk – earning nominations and some wins, and finally getting him recognized as a directing contender. In fact, Coogler’s win for Original Screenplay already surpassed Nolan’s early Oscar achievements. Just like it was for Nolan, Coogler not winning Best Director this year actually suggests confidence in his future work. The only way Oppenheimer beating Sinners will look bad in retrospect is if Coogler never directs a film that’s even more impressive.

David Fincher

Now that he’s finished with ‘PTA,’ everyone’s calling him the best American director who’s never won an Oscar – and honestly, I think they’re right!

Pam Abdy and Mike De Luca

With six Oscars for Oppenheimer, four for Poor Things, and one for The Holdovers (plus another for F1, which Warner Bros. released), the filmmakers have proven their approach is successful. Just a year ago, they faced criticism from within their own company for trusting talented directors with funding and creative control. While the studio was ultimately sold, this Oscar success is still a significant achievement.

Autumn Durald Arkapaw

The first woman and first Black person to ever win an Oscar for Cinematography gave one of the most memorable speeches of the night. She asked all the women in the audience to stand, and it appeared that almost all of them did, including those in the mezzanine section where I was seated.

Kumail Nanjiani

Comedians are great at hosting the Oscars because they’re quick on their feet. Kumail Nanjiani handled a tie in the Live-Action Short category with impressive composure, much like a pilot dealing with a bumpy flight, and likely boosted his reputation as an awards show host. He’s hosted the DGA and Independent Spirit Awards before, so this performance was a good addition to his experience.

Neon

After Vanity Fair significantly scaled back its party and Warner Bros. didn’t host its usual event, Neon’s party at Mother Wolf became the main after-party following the Governors’ Ball. The result of mixing a group of Norwegians and Brazilians? Lots and lots of cigarettes.

The People Inside the Dolby Theatre

The broadcast had some issues – reportedly poor sound, jumpy editing, and slow pacing – but those watching in person didn’t notice. We were treated to two fantastic original song performances and a surprise concert by Barbra Streisand! My coworker, Rachel Handler, was really disappointed she missed it while working at the bar.

The American Moviegoer

During his Best Picture acceptance speech, PTA recalled the 1976 Oscar nominees – One Flew Over the Cuckoo’s Nest, Barry Lyndon, Dog Day Afternoon, Jaws, and Nashville – and noted there wasn’t a single ‘best’ film, just the one that resonated most at the time. While it’s hard to say if this year’s nominees will achieve the same legendary status (especially considering the limited international representation – I would have liked to see The Secret Agent recognized), I was generally pleased with the winners. This year’s Oscars reflect Hollywood’s current narrative: a highly respected director getting free rein with OBAA, and a truly original blockbuster in Sinners. Hamnet represented British cinema, Sentimental Value appealed to the art-house crowd from Cannes, and KPop Demon Hunters (along with Frankenstein) flew the flag for streaming services. Even a summer horror release, Weapons, managed to win an acting award! The only area of filmmaking not represented among the winners was independent cinema, with Neon winning only one award and A24 being completely overlooked. However, they’ll be back – the indie scene always bounces back.

While the Oscars had a fairly mainstream group of nominees, ratings were still down 9 percent, which is concerning. Combined with the sale of Warner Bros. and the upcoming move of the Oscars to YouTube, the entire event felt like a nostalgic farewell – almost as if we were watching a historic moment unfold even as it happened.

I might be feeling sentimental as the current awards season winds down. I won’t be covering the awards at Cannes this year, as I’m starting my second period of parental leave next week. I’ll be back to writing in June, but my colleague Joe Reid will be taking over the Gold Rush column for Emmy season coverage. This year has felt different while caring for a new baby, but I expect things to feel more like normal next season when my child is a year old.

If you’re wondering about the awards season leading up to the Oscars, the film One Bottle After Another was a major winner! It took home top prizes at the BGA Awards, the Screen Nappers Guild Awards, and the Golden Globes.

2026-03-21 00:56