Great news! The fun tradition resumes where I try to foretell the potential candidates for the best picture at the Oscars. The unpredictable nature of the film industry is evident in the fact that typically my forecasts are right about half the time. However, last year was an exception when I erringly removed ‘Poor Things’ from my list due to its delayed release in 2023. Little did I know that it would turn out to be the second most celebrated film of the year. I am determined not to repeat such a blunder with a Yorgos Lanthimos creation this time.
My accurate assessments included only four films: ‘Oppenheimer’, ‘Killers of the Flower Moon’, ‘Maestro’ (high-status films) and ‘Past Lives’ (a crowd favourite, previewed in Sundance). ‘Dune Part Two’ was postponed, while ‘Flora and Son’ by John Carney, bought by Apple at Sundance, went unnoticed. ‘The Killer’ was not an outrageous pick. ‘Napoleon’ was always a gamble. ‘May December’ only scraped one nomination. I believe ‘Priscilla’ was underrated. Need to improve my game clearly.
In retrospect, what should I have envisaged? Besides the obvious ‘Poor Things’, ‘American Fiction’ was overlooked, barely making a blip. ‘Barbie’ seemed like a long shot initially. Alexander Payne’s ‘The Holdovers’ definitely ought to have made it to my list. Once again, films such as ‘The Zone of Interest’ and ‘Poor Things’ which seemed implausible contenders came out strong, reflecting the changing tastes of voters. Expect the unexpected – there will be a surprise wildcard this year at Cannes, like ‘Anatomy of a Fall’.
Release dates can still change unexpectedly. Regardless, the upheaval cinema experienced due to the pandemic seems to have settled down now. There’s scarce belief that Quentin Tarantino’s ‘The Critic’ will be ready in time. A few optimists are hopeful that Paul Thomas Anderson’s yet unnamed new venture will be released by Christmas, which I find doubtful. We have even placed a bet on a title that might not release until 2025. After all, it’s just a game. For the record, we have not staked our money on ‘Gladiator II’.
For Oscars 2025, I, Donald Clarke, am back with my projections for the best-picture category (usually correct, at least half the time). Here they are in no particular sequence…
Starting with ‘Dune Part Two’.
Denis Villeneuve is at the helm of an award-winning movie that garnered very positive reviews. Despite previous concerns about an actors’ strike, the film’s success made its inclusion in this list a given.
In contrast, Jesse Eisenberg directed “A Real Pain”, which was well-received particularly at Sundance. This film, Eisenberg’s second directorial effort after the underrated “When You Finish Saving the World”, tells the story of cousins touring Poland to pay tribute to their beloved grandma. It bagged the Waldo Salt Screenwriting Award and was lauded by various critics, with Variety calling it both a “delight and a revelation”.
Steve McQueen took on the ambitious project, “Blitz”, set amidst the backdrop of World War II in London. It stars Saoirse Ronan, Stephen Graham, Kathy Burke and Paul Weller, among others. The plot details remain a secret, but it seems to interlink several narratives. Its filming concluded a year ago so it could debut at the Cannes.
Yorgos Lanthimos’s “Kind of Kindness” is another film creating a buzz. It was shot quite fast, with some “Poor Things” cast members such as Emma Stone, Margaret Qualley, and Willem Dafoe. Rumour has it it’s an anthology set in present-day America. Familiar faces Ed Guiney and Andrew Lowe join as producers and Robbie Ryan is the director of photography.
Lastly, George Miller directs “Furiosa: A Mad Max Saga”, continuing to add onto this vibrant and dynamic universe.
Anya Taylor-Joy takes on the role of young Furiosa in the highly anticipated Fury Road prequel, with Chris Hemsworth and Tom Burke joining the cast. Its reception is eagerly awaited following its predecessor’s success at the awards, where it scooped most honours, even earning a best picture nomination. The likely premiere venue is Cannes, given the May 24th release date and director Miller’s previous association with the festival.
The sequel to Joker, named Folie à Deux, directed by Todd Phillips, stirs up curiosity. A quasi-musical, it could be breathtaking or a complete bust. Unfavourably received by critics, the original Joker still saw Phoenix bag the best actor Oscar and the Golden Lion at Venice, amazingly. It’s suspected that it will premiere at the Lido, with an October 4th debut.
Pablo Larraín’s latest project, Maria, brings Angelina Jolie as Maria Callas. This film seems to be a fitting conclusion to what could be thought of as the trilogy of isolated women, preceded by Jackie and Spencer. Despite previous films earning lead nominations but no wins, expectations are high for Maria. A familiar face at Venice, it’s almost certain Larraín will return there.
Five years after his hit, Brooklyn, John Crowley appears to shrug off the disappointment of The Goldfinch latent in his upcoming release, We Live in Time. A romance featuring Florence Pugh and Andrew Garfield, it showcases an Oscar-friendly assembly of talent. Given the strong track record of scriptwriter Nick Payne, and the trusted A24 handling U.S distribution, hopes are high for a warm reception in 2025.
Finally, Nightbitch by Marielle Heller wraps up the list of anticipated film releases.
Certainly, we should keep personal sentiments separate from matters at hand, but we’re enamoured with all of Heller’s trio of cinematic creations: The Diary of a Teenage Girl, Can You Ever Forgive Me? and A Beautiful Day in the Neighbourhood. Based on a novel of the same name by Rachel Yoder, the story revolves around an exasperated mother who morphs into a canine; an utter treat to watch with Amy Adams as the star. There’s nothing here that’s not to relish. If the film is effective, the difficult subject matter should not dissuade the voting public who previously supported Zone of Interest.
Bird
Guided by Andrea Arnold
Would the academy have no interest in the Kent provocateur? However, they did reward her with an Oscar for her short film, Wasp, back in 2003. Granted, her feature-length films have not garnered much attention from the voters since then, but the pairing of Barry Keoghan and Franz Rogowski is too electrifying to disregard. Robbie Ryan, the omnipresent cinematographer, reunites with one of his longest-standing partners. While the storyline details remain undisclosed, it’s safe to gamble on more poetic realism.
For the freshest discourse and analysis, tune into our Inside Politics podcast. Subscribe to alerts and receive premier news, commentary, and analyses directly on your mobile device. Keep in touch with The Irish Times on WhatsApp for the most recent updates.