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OSCARS 2025: BETWEEN CONTROVERSIES, CHANGES, AND THE FUTURE OF CINEMA
Just a few hours remain before the 97th edition of the Oscars begins—a year marked by multiple challenges and, I dare say, one of the most controversial in recent times. This is not only due to the numerous disputes that have erupted on social media in recent months but also to the uncertainty surrounding a clear winner for this edition. It’s necessary, then, to discuss the current state of affairs within the Academy.
This year has been especially tough for Hollywood. Following the writers' strike, the industry experienced a halt as severe as the one seen during the 2020 pandemic. Film releases were delayed, and titles that seemed like sure bets for awards, such as Paul Thomas Anderson’s highly anticipated One Battle After Another, couldn’t even premiere. Meanwhile, movies expected to dominate—like Coppola’s Megalopolis (2024) or Philips’ Joker: Folie à Deux (2024)—failed to meet expectations. The nominations themselves have both surprised and disappointed, casting doubt on the Academy’s future and the reliability of its selection criteria.
Let’s start with the elephant in the room: Jacques Audiard’s Emilia Pérez (2024). This film was showered with critical acclaim at the Cannes Film Festival, making its success seem inevitable. Upon its U.S. release, the reception was largely positive. However, once it reached Latin America and Europe, its reputation began to plummet. Controversies exploded—surrounding Karla Sofía Gascón, the use of AI, and the director’s own comments—all of which completely buried its chances of becoming the awards season favorite. While the film has its standout moments, it’s impossible to ignore its shortcomings as a musical, particularly in crucial aspects such as the script and editing.
It seems incredibly strange that a film like this received so many nominations from the Academy. This inevitably fuels speculation about how the Oscars, at times, function as a tool to captivate audiences—though, in this case, the strategy backfired.
On the other hand, the nominated films this year are truly remarkable. The Brutalist by Corbette and Anora by Baker are the predicted frontrunners for the most prestigious award. Yet, both have also faced controversies—whether related to AI or the directors’ ideologies—leaving the outcome less certain than expected. They are outstanding films, fully deserving of recognition, but the debate extends beyond the films themselves.
I mentioned Emilia Pérez to reflect on the dangers of the Oscars amid these ongoing controversies. Years ago, the press did not wield the same power over award outcomes as it does today. This raises questions about how the grandeur of Hollywood has seemingly diminished into an almost puritanical display. Ultimately, the Oscars are not changing because they want to but because they are being told to.
Cinema is evolving, and with it, its awards. Today, for the Oscars, a film as a self-contained artistic work no longer seems to be the main focus. Instead, its impact on audiences and immediate cultural repercussions take precedence. The Academy strives to be politically correct, yet it hasn’t learned how to do so in a genuine way. In reality, the goal is to remain likable and relevant at all costs.
This type of thought and analysis is not new—David Lynch explored it in his films (and in just a few hours, he will be honored in memoriam at the Academy Awards). It’s simply another reaction to the chaos we are about to witness tonight. We can speculate on who will win or lose, but nowadays, the winners seem less important. The real question should be: What role do awards play in cinema today? Is it still possible to recognize a film for its artistic merit, or only for the cultural phenomenon it generates?
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