FIRST LOOK: Paul Mescal and Pedro Pascal in “Gladiator 2”
Universal Pictures
“Gladiator” has marked itself to be one of the most highly-appreciated films of the 2000s, and has remained to be one of my favorite Russel Crowe performances. The sequel “Gladiator 2” follows the story of Lucius, the son of Maximus' love Lucilla, after Maximus' death. Although the official plot has not been revealed yet, but the movie will takes place years after the first movie.
Vanity Fair has now released the first look at “Gladiator 2” with casts being revealed. The movie is set to be released on November 22, 2024. Here are the snippets for one of the most anticipated epic movies of 2024:
Here are some notable previous works for each of the cast members of "Gladiator 2":
- "The Mandalorian" (TV series)
- "Game of Thrones" (TV series)
- "Narcos" (TV series)
- "The Last of Us" (TV series)
- "Stranger Things" (TV series)
- "Catherine the Great" (TV series)
- "Les Misérables" (TV series)
- "The Killing of a Sacred Deer" (Film)
- "Dunkirk" (Film)
- "The Banshees of Inisherin" (Film)
- "Eternals" (Film)
- "Normal People" (TV series)
- "Aftersun" (Film)
- "The Lost Daughter" (Film)
- "Training Day" (Film)
- "Malcolm X" (Film)
- "Fences" (Film)
- "The Equalizer" (Film)
- "Gladiator" (Film)
- "Wonder Woman" (Film)
- "The Following" (TV series)
- "Boss" (TV series)
The newly released photos from "Gladiator 2" offer an exciting glimpse into the highly anticipated sequel. With a star-studded cast featuring Paul Mescal as Lucius, alongside renowned actors such as Denzel Washington, Connie Nielsen, and Pedro Pascal, the film promises to be a cinematic spectacle. The return of familiar faces like Djimon Hounsou and Derek Jacobi, coupled with the introduction of fresh talent including Barry Keoghan and May Calamawy, adds layers of intrigue and anticipation. As the buzz continues to build, these images not only reignite the legacy of the original "Gladiator" but also set the stage for an epic continuation that fans and newcomers alike will eagerly await.
INSIDE OUT 2: SELF-TALK
Disney/Pixar
While I gave the movie a 7.5 rating out of 10, the movie is actually very profound and mature in discussing some important mental health aspects of life. There's an aspect in the “Inside Out 2” movie that people don't talk about: SELF-TALK. In the film, characters like Anxiety and Joy influence Riley's sense of self. Joy initially ensures that only positive memories shape Riley's beliefs, convincing her that she’s a good person while negative memories are forgotten. Consequently, Riley's self-talk, or internal dialogue, reflects Joy's influence with thoughts like "I am a good person" and Anxiety's influence with "I am not good enough." Self-talk is the way we converse with ourselves, combining conscious thoughts with ingrained beliefs and biases to create a continuous internal monologue. This internal dialogue is crucial because it significantly impacts our mental and emotional well-being, behavior, and overall quality of life. While normal speech occurs at about 100-150 words per minute and auctioneers speak at 250 words per minute, self-talk happens at an astonishing rate of 300-1000 words per minute.
Our self-talk is a powerful force that influences our thoughts, emotions, and actions. This internal dialogue can either cheer us on or cast doubt, thereby shaping our reality. Cultivating positive self-talk can greatly enhance mental well-being and quality of life. Our emotional state is often a reflection of how we talk to ourselves—feelings of anxiety can stem from negative self-talk. When you think of it, most of our emotional state is based on how we talk to ourselves. Do we feel anxious? It might be because of the way we speak to ourselves. The nature of our self-talk—whether positive or negative—can significantly impact our mental health. Positive self-talk can act as a buffer against stress, anxiety, and depression, boosting self-esteem and confidence. Conversely, negative self-talk can exacerbate these conditions and undermine our sense of self-worth. Positive self-talk aids in emotional regulation, keeping us calm, while negative self-talk can lead to heightened emotional responses.
Disney/Pixar
Interestingly, what we often label as "negative" self-talk isn’t always entirely negative. Negative self-talk can sometimes act as a form of self-protection, helping us avoid potential harm or failure. For example, cautionary thoughts can prevent us from taking unnecessary risks. For some people, a certain level of critical self-talk can serve as a motivator to improve and strive for better outcomes. It can push individuals to work harder and overcome obstacles. Negative self-talk can provide a reality check, helping us recognize areas where we need improvement. This can lead to personal growth and development when balanced with constructive feedback. Lastly, critical self-talk can help us identify potential problems and think through solutions. It prompts us to consider various scenarios and prepare for challenges.
My point is, the conversations we have with ourselves play an important role in our lives, they shape our mental well-being, self-esteem, social conduct, and emotional regulation. By becoming aware of our self-talk and consciously fostering a positive and supportive inner dialogue, we can significantly enhance our well-being and lead more fulfilling lives. Remember, your sense of self is not defined by the fleeting nature of emotions or the narratives created by self-talk; it is rooted in the enduring presence of your soul. The way you talk to yourself matters—be kind and be encouraging. Your sense of self is not your emotions or your self-talk, but your soul.
Let’s Talk About The Honest Depiction of Trauma and Abuse in Netflix’s “Baby Reindeer”
Netflix
"Baby Reindeer" on Netflix has never left my mind, even days after watching it. The movie is layered, and I'm here to discuss some of these layers. If you haven't watched the show, be warned that this post contains spoilers.
Let's tackle the elephant in the room: why did he return to the abuser's apartment even after the assault? In the context of abusive relationships or interactions, it's not uncommon for survivors to return to or maintain contact with their abusers, even after an assault or harmful incident. Abusers often employ psychological manipulation to control and confuse their victims, using tactics such as guilt-tripping, gaslighting, or making promises that can persuade the victim to return. This is precisely what happened to Donny—he was promised fame as a comedian or writer, and he clung to those false promises. This is the danger for those desperate for success; they can be easily deceived by such false promises to the point of losing their sense of self.
Now, let's consider Martha's role. You might wonder why it took him six months to report Martha. Some might argue that he is not a victim but an enabler. However, if you watched the show, you'd see that he clearly acknowledges his dynamic with Martha, recognizing his egotism and the reasons for keeping Martha around. This is why I believe the characterization in the show is exceptional, as it presents this perspective through Teri, his love interest.
Initially, we perceive his actions as empathetic towards Martha, feelings of sorrow for her, but on a deeper level, his behavior is a manifestation of his deep-seated trauma. This is the vicious cycle of abuse: he is both a victim of abuse and grooming, which led to him exploiting and manipulating Martha on several levels. The show is a profound exploration of the vicious cycle of abuse and trauma.
The vicious cycle of abuse can lead to negative outcomes that, in turn, increase the likelihood of further abuse, creating a self-perpetuating loop. This cycle can affect individuals throughout their lives in various ways, impacting their mental, emotional, physical, and social well-being. The suggestion that Donny is not a victim because he allowed his abusers and Martha to continue their actions is a dangerous narrative.
Blaming victims is one of the reasons people are afraid to speak up about abuse; society often hastily questions, "Why didn't you run away?" or "Why didn't you report them to the police?" and, worst of all, "Why did you let them abuse you?" Abuse is inherently about an imbalance of power and control, with the responsibility for the abuse resting solely with the abuser. When we blame victims, we cause them additional emotional harm and perpetuate a culture that discourages victims from coming forward and seeking help.
Sent from me Iphon
Ranking Top 10 Best Picture Winners (2014-2024)
With the recent 96th Academy Awards ceremony held at the Dolby Theatre in Hollywood, Los Angeles last March 10, 2024, Oppenheimer was the most-awarded movie, taking home 7 awards including Best Picture, Best Director, Best Actor, and Best Supporting Actor. In this article, we will be ranking the Top 10 Best Picture winners (2014-2024). The Top 10 Best Picture winners list I've created is shaped by my own opinions and personal favorites. It's a subjective compilation, reflecting my tastes in cinema and what I believe to be the standout films among the Academy's selections for Best Picture. These choices are influenced by a mix of the films' artistic merit, the emotional impact they had on me, and their cultural significance as I perceive it. This list is essentially a snapshot of my cinematic preferences over a decade, showcasing the films that resonated with me the most and left a lasting impression.
10. Green Book (2018)
Universal Pictures
Renowned pianist Dr. Don Shirley, an African American, prepares for a musical tour across the southern United States in 1962. Seeking someone to drive him and provide security, he enlists the services of Tony Lip, a bouncer with a rugged demeanor from an Italian-American enclave in the Bronx. As they journey together, the pair form a surprising friendship, facing and challenging the prevailing racial prejudices and threats characteristic of the segregated period.
Green Book won the 2019 Best Picture award against Alfonso Cuarón’s Roma, a powerful and enthralling movie about social class through the lens of someone who’s usually presented as a background character. What is regarded by some as the weakest year for the cinema, Green Book is the lowest-rated movie on Rotten Tomatoes that ever won the Best Picture award in the last 10 years, with a rather mid-rating of 77%.
9. CODA (2020)
Apple TV+
CODA is a story about Ruby (portrayed by Emilia Jones), the only hearing person in her deaf family—a CODA, or child of deaf adults. She navigates daily life serving as an interpreter for her parents (played by Marlee Matlin and Troy Kotsur) and helping on the family's floundering fishing vessel with her dad and older sibling (Daniel Durant) before attending school. Ruby's world begins to change when she joins the choir at her high school and uncovers her talent for singing, especially as she grows closer to her singing partner, Miles (Ferdia Walsh-Peelo). Under the guidance of her passionate and demanding choir teacher (Eugenio Derbez), she is encouraged to audition for a renowned music college. Faced with this opportunity, Ruby is caught in a struggle between her dedication to her family and her aspirations to follow her own path.
CODA's triumph in securing the Best Picture award was an unexpected outcome. With The Power of the Dog having previously clinched the Best Picture titles at the BAFTA, Golden Globes, and Critics' Choice Awards, it was widely anticipated to be the frontrunner for the prestigious Best Picture category at the 94th Academy Awards. Nevertheless, the Academy's decision to give the honor to CODA came as a surprise to many. While CODA is a commendable film, some critics argue that it tends to resemble a film characteristic of a Hallmark movie.
8. Nomadland (2021)
Searchlight Pictures
Directed by Chloé Zhao, “Nomadland” is about a woman in her sixties who, after losing everything in the Great Recession, embarks on a journey through the American West, living as a van-dwelling modern-day nomad.
The film presents a considerable challenge for viewers to engage with because it lacks elements that the average person can easily connect with. At first glance, it's labeled as dull and tedious due to its slow pace. However, for those who appreciate a cinematic experience that delves deeply into character development and personal narratives, the film promises to be a deeply moving experience. Picture yourself accompanying a lone woman on her travels across the American West, armed with nothing but her own resilience. It's clear that such a storyline might not resonate with everyone, as it requires a certain taste for introspective and unhurried storytelling.
7. Everything Everywhere All At Once (2022)
A24
When a rupture between dimensions disrupts reality, an unlikely protagonist must harness her newfound abilities to combat strange and perplexing threats from across the multiverse, all while the destiny of the world hangs precariously in the balance.
The victory of "Everything Everywhere All At Once" in securing the Best Picture award came as a surprise to many, particularly given its classification within the Sci-fi genre. Despite facing formidable competition from contenders such as "The Banshees of Inisherin," "Tar," and "Women Talking," each possessing attributes of being a quiet and compelling movie that could have positioned them favorably for the award, the film's success signifies a significant shift in recognizing and appreciating the creativity, richness, and diversity of Asian storytelling. These achievements are significant for a hopeful trend toward increased representation of the Asian community. Additionally, the film's historic win saw Michelle Yeoh becoming the first Asian woman to claim the Best Actress accolade, marking a significant milestone in cinematic history.
6. The Shape of Water (2017)
Fox Searchlight
"The Shape of Water" is a film set in 1962 in Baltimore, where Elisa, a mute woman who feels isolated from the world, works as a janitor in a secretive government facility. Her mundane life takes a turn when she stumbles upon a classified experiment: a humanoid amphibian creature from the rivers of South America, held captive in a water tank. She communicates with it through sign language and music, and their connection grows into a unique romance. Meanwhile, the creature's existence is threatened by both Colonel Strickland, the ruthless government agent determined to exploit it for military advantage, and the ambitious scientist Dr. Robert Hoffstetler, who is under pressure to deliver results.
"The Shape of Water" received a mix of opinions, but it stands out for its beautiful portrayal of an unusual romance. It won Best Picture for its blend of fantasy, love, and historical drama. Sally Hawkins shines as Elisa, a mute cleaner who forms a special connection with a strange sea creature in a secret lab. Guillermo del Toro's direction is superb, creating a film that's both touching and thrilling, with music that adds magic to the fairy tale feel. This film is a creative and heartfelt story about finding love in unexpected places. Personally, “Lady Bird” was my choice for the Best Picture, but “The Shape of Water” is the clear front-runner because of its visual mastery and the unconventional depiction of a love story.
5. Oppenheimer (2023)
Universal Pictures
During World War II, Lt. Gen. Leslie Groves Jr. appoints physicist J. Robert Oppenheimer to work on the top-secret Manhattan Project. Oppenheimer and a team of scientists spend years developing and designing the atomic bomb. Their work came to fruition on July 16, 1945, as they witnessed the world's first nuclear explosion, forever changing the course of history.
Unlike many of Nolan's previous films, 'Oppenheimer' is less about pyrotechnics and more about the character study at its heart. This dialogue-driven narrative creates a palpable tension that simmers throughout the film, giving it explosive energy even in the absence of literal explosions. This thoughtful approach elevates the film to a higher plane of storytelling, making Oppenheimer a richly rewarding cinematic experience. Uncharacteristic of Nolan's filmography, 'Oppenheimer' delivers its narrative through quiet nuances that demand the audience's attention and engagement.
4. Spotlight (2015)
Open Road Films
In 2001, editor Marty Baron of The Boston Globe assigned a team of journalists to investigate allegations against John Geoghan, an unfrocked priest accused of molesting more than 80 boys. Led by editor Walter "Robby" Robinson (Michael Keaton), reporters Michael Rezendes (Mark Ruffalo), Matt Carroll, and Sacha Pfeiffer interview victims and try to unseal sensitive documents. The reporters make it their mission to provide proof of a cover-up of sexual abuse within the Roman Catholic Church.
"Spotlight" truly stood out among its competition for the Oscar. Its storytelling was exceptional, with performances that were just spot-on, with Mark Ruffalo’s behavior nuanced and McAdams’s subtle range was impeccable. The movie tackled a sensitive subject matter delicately and never shied away from the strong questions about the failures and cover-ups of the Catholic Church. The film's portrayal of the investigative process was diligent and careful, and it delivered a powerful message about the importance of powerful journalism in the call for justice.
3. Birdman or (The Unexpected Virtue of Ignorance) (2014)
Fox Searchlight
Former cinema superhero Riggan Thomson (Michael Keaton) is mounting an ambitious Broadway production that he hopes will breathe new life into his stagnant career. It's risky, but he hopes that his creative gamble will prove that he's a real artist and not just a washed-up movie star. As opening night approaches, a castmate is injured, forcing Riggan to hire an actor (Edward Norton) who is guaranteed to shake things up. Meanwhile, Riggan must deal with his girlfriend, daughter, and ex-wife.
"Birdman" is an inventive and intense film that delves into the complexities of fame and the ego. It follows a washed-up actor, known for his superhero role as Birdman, who struggles to reclaim significance through a Broadway play. The film cleverly shows the risks of self-absorption and vanity in the world of showbiz. While it can be a bit overwhelming at times, the movie offers a sharp commentary on the obsession with celebrity and the blurred lines between an actor's true self and their public persona. It's a thought-provoking watch that examines the pitfalls of narcissism and our culture's fixation on fame.
2. Moonlight (2016)
A24
A look at three defining chapters in the life of Chiron, a young black man growing up in Miami. His epic journey to manhood is guided by the kindness, support, and love of the community that helps raise him.
"Moonlight" is a profoundly touching film that captures the essence of empathy and the human experience. It tells the story of Chiron, a young Black man, as he navigates his way through the trials of childhood, adolescence, and adulthood. The film is a heartfelt exploration of his struggles with identity and sexuality, set against the backdrop of a rough Miami neighborhood. Director Barry Jenkins tells this story with a delicate and masterful touch, offering a perspective that speaks to the very core of what it means to be human.
Jenkins' direction in "Moonlight" is both powerful and subtle, showcasing his strong vision and commitment to storytelling. The film unfolds in three acts, each focusing on a different stage of Chiron's life, piecing together the complex puzzle of who he is. This moving coming-of-age narrative resonates deeply, highlighting the challenges of self-discovery and the inner strength required to embrace one's true self. "Moonlight" stands as a testament to the importance of representation and the power of cinema to foster understanding and connection.
1. Parasite (2019)
Neon
Greed and class discrimination threaten the newly formed symbiotic relationship between the wealthy Park family and the destitute Kim clan.
"Parasite" is a masterful blend of dark humor and social satire, marking a high point in Bong Joon-ho's directorial career. The film intricately weaves the lives of two families from vastly different socioeconomic backgrounds, creating a compelling tragicomedy that keeps viewers on the edge of their seats. Bong's storytelling is sharp and precise, turning a tale of deception and class struggle into a universally acclaimed cinematic masterpiece.
The movie's brilliance lies in its acute reflection of societal divides and the unsettling dynamics of wealth disparity. Through a series of dark, unexpected twists, "Parasite" delivers a powerful commentary on the human condition and social hierarchy that resonates with audiences worldwide. The film's technical excellence – from its stunning cinematography and meticulous editing to its evocative score – ensures that every element on screen serves a deliberate purpose. Every line of dialogue, every scene, contributes to the movie's overarching message, leaving a lasting impression of the artistry behind this modern classic. Parasite is only the movie on this list to get a 99% score on Rotten Tomatoes and the only foreign film to win Best Picture.
Oscars 2024: Full Winners List
96th Academy Awards
Lights, camera, accolades! The wait is over, and the golden statuettes have found their rightful owners. The Oscars, the pinnacle of cinematic celebration, brought together the industry's brightest stars for a night of glamour, emotion, and, of course, unforgettable wins. Here are the winners of this year’s 96th Academy Awards:
Best Picture:
“American Fiction” (MGM) Ben LeClair, Nikos Karamigios, Cord Jefferson and Jermaine Johnson
“Anatomy of a Fall” (Neon) Marie-Ange Luciani and David Thion
“Barbie” (Warner Bros.) David Heyman, Margot Robbie, Tom Ackerley and Robbie Brenner
“The Holdovers” (Focus Features) Mark Johnson
“Killers of the Flower Moon” (Apple Original Films/Paramount Pictures) Dan Friedkin, Bradley Thomas, Martin Scorsese and Daniel Lupi
“Maestro“ (Netflix) Bradley Cooper, Steven Spielberg, Fred Berner, Amy Durning and Kristie Macosko Krieger
“Oppenheimer” (Universal Pictures) Emma Thomas, Charles Roven, and Christopher Nolan
“Past Lives” (A24) David Hinojosa, Christine Vachon and Pamela Koffler
“Poor Things” (Searchlight Pictures) Ed Guiney, Andrew Lowe, Yorgos Lanthimos and Emma Stone
“The Zone of Interest” (A24) James Wilson
Best Director:
Jonathan Glazer “The Zone of Interest”
Yorgos Lanthimos “Poor Things”
Christopher Nolan “Oppenheimer”
Martin Scorsese “Killers of the Flower Moon”
Justine Triet “Anatomy of a Fall”
Best Actor in a Leading Role:
Bradley Cooper “Maestro”
Colman Domingo “Rustin”
Paul Giamatti “The Holdovers”
Cillian Murphy “Oppenheimer”
Jeffrey Wright “American Fiction”
Best Actress in a Leading Role:
Annette Bening “Nyad”
Lily Gladstone “Killers of the Flower Moon”
Sandra Hüller “Anatomy of a Fall”
Carey Mulligan “Maestro”
Emma Stone “Poor Things”
Best Actor in a Supporting Role:
Sterling K. Brown “American Fiction”
Robert DeNiro “Killers of the Flower Moon”
Robert Downey Jr. “Oppenheimer”
Ryan Gosling “Barbie”
Mark Ruffalo “Poor Things”
Best Actress in a Supporting Role:
Emily Blunt “Oppenheimer”
Danielle Brooks "The Color Purple”
America Ferrera “Barbie”
Jodie Foster “Nyad”
Da’Vine Joy Randolph “The Holdovers”
Best Original Screenplay:
“Anatomy of a Fall” (Neon) Justine Triet, Arthur Harari
“The Holdovers” (Focus Features) David Hemingson
“Maestro” (Netflix) Bradley Cooper, Josh Singer
“May December” (Netflix) Samy Burch, Alex Mechanik
“Past Lives” (A24) Celine Song
Best Adapted Screenplay:
“American Fiction” (MGM) Cord Jefferson
“Barbie” (Warner Bros.) Greta Gerwig, Noah Baumbach
“Oppenheimer” (Universal Pictures) Christopher Nolan
“Poor Things” (Searchlight Pictures) Tony McNamara
“The Zone of Interest” (A24) Jonathan Glazer
Best Animated Feature:
“The Boy and the Heron” (GKids/Toho) Hayao Miyazaki and Toshio Suzuki
“Elemental” (Pixar) Peter Sohn and Denise Ream
“Nimona” (Netflix) Nick Bruno, Troy Quane, Karen Ryan and Julie Zackary
“Robot Dreams” (Neon) Pablo Berger, Ibon Cormenzana, Ignasi Estapé and Sandra Tapia Díaz
“Spider-Man: Across the Spider-Verse” (Sony Pictures) Kemp Powers, Justin K. Thompson, Phil Lord, Christopher Miller and Amy Pascal
Best Production Design:
“Barbie” Sarah Greenwood (production designer), Katie Spencer (set decorator)
“Killers of the Flower Moon” Jack Fisk (production designer), Adam Willis (set decorator)
“Napoleon” Arthur Max (production designer), Elli Griff (set decorator)
“Oppenheimer” Ruth De Jong (production designer), Claire Kaufman (set decorator)
“Poor Things” Shona Heath, James Price (production designer), Szusza Mihalek (set decorator)
Best Cinematography:
“El Conde” Edward Lachman
“Poor Things” Robbie Ryan
“Killers of the Flower Moon” Rodrigo Prieto
“Maestro” Matthew Libatique
“Oppenheimer” Hoyte van Hoytema
Best Costume Design:
“Poor Things” Holly Waddington
“Barbie” Jacqueline Durran
“Killers of the Flower Moon” Jacqueline West
“Napoleon” David Crossman, Janty Yates
“Oppenheimer” Ellen Mirojnick
Best International Feature:
“The Zone of Interest” from United Kingdom (A24) dir. Jonathan Glazer
“Io Capitano” from Italy (01 Distribution)dir. Matteo Garrone
“Perfect Days” from Japan (Neon) dir. Wim Wenders
“Society of the Snow” from Spain (Netflix) dir. J.A. Bayona
“The Teachers’ Lounge” from Germany (Sony Pictures Classics) dir. İlker Çatak
Best Film Editing:
“Anatomy of a Fall” Laurent Sénéchal
“The Holdovers” Kevin Tent
“Killers of the Flower Moon” Thelma Schoonmaker
“Poor Things” Yorgos Mavropsaridis
“Oppenheimer” Jennifer Lame
Best Original Score:
“American Fiction” Laura Karpman
“Indiana Jones and the Dial of Destiny” John Williams
“Oppenheimer” Ludwig Göransson
“Killers of the Flower Moon” Robbie Robertson
“Poor Things” Jerskin Fendrix
Best Visual Effects:
“The Creator” Jay Cooper, Ian Comley, Andrew Roberts and Neil Corbould
“Godzilla: Minus One” Takashi Yamazaki, Kiyoko Shibuya, Masaki Takahashi and Tatsuji Nojima
“Guardians of the Galaxy Vol. 3” Stephane Ceretti, Alexis Wajsbrot, Guy Williams and Theo Bialek
“Mission: Impossible – Dead Reckoning Part One” Alex Wuttke, Simone Coco, Jeff Sutherland, and Neil Corbould
“Napoleon” Charley Henley, Luc-Ewen Martin-Fenouillet, Simone Coco and Neil Corbould
Best Sound Design:
“The Creator” Ian Voigt, Erik Aadahl, Ethan Van der Ryn, Tom Ozanich and Dean Zupancic
“Maestro” Steven A. Morrow, Richard King, Jason Ruder, Tom Ozanich and Dean Zupancic
“Mission: Impossible – Dead Reckoning Part One” Chris Munro, James H. Mather, Chris Burdon and Mark Taylor
“The Zone of Interest” Tarn Willers and Johnnie Burn
“Oppenheimer” Willie Burton, Richard King, Gary A. Rizzo and Kevin O’Connell
Best Makeup & Hairstyling:
“Golda” Karen Hartley Thomas, Suzi Battersby, and Ashra Kelly-Blue
“Maestro” Kazu Hiro, Kay Georgiou and Lori McCoy-Bell
“Oppenheimer” Luisa Abel
“Poor Things” Nadia Stacey, Mark Coulier and Josh Weston
“Society of the Snow” Ana López-Puigcerver, David Martí and Montse Ribé
Best Animated Short Film:
“War is Over! Inspired by the Music of John & Yoko” Dave Mullins and Brad Booker
“Letter to a Pig” Tal Kantor and Amit R. Gicelter
“Pachyderme” Stéphanie Clément and Marc Rius
“Ninety-Five Senses” Jerusha Hess and Jared Hess
“Our Uniform” Yegane Moghaddam
Best Documentary Feature Film
“Bobi Wine: The People’s President,” Moses Bwayo, Christopher Sharp and John Battsek
“The Eternal Memory”
“Four Daughters,” Kaouther Ben Hania and Nadim Cheikhrouha
“To Kill a Tiger,” Nisha Pahuja, Cornelia Principe and David Oppenheim
“20 Days in Mariupol,” Mstyslav Chernov, Michelle Mizner and Raney Aronson-Rath
Best Documentary Short
“The ABCs of Book Banning,” Sheila Nevins and Trish Adlesic
“The Barber of Little Rock,” John Hoffman and Christine Turner
“Island in Between,” S. Leo Chiang and Jean Tsien
“The Last Repair Shop,” Ben Proudfoot and Kris Bowers
“Nǎi Nai & Wài Pó,” Sean Wang and Sam Davis
Best Original Song:
“It Never Went Away” (American Symphony) by Jon Batiste, Dan Wilson
“I’m Just Ken” (Barbie) by Mark Ronson and Andrew Wyatt
“What Was I Made For?” (Barbie) by Billie Eilish, Finneas O’Connell
“The Fire Inside” (Flamin’ Hot) by Diane Warren
“Wahzhazhe (A Song for My People)” (Killers of the Flower Moon) by Scott George
Best Live Action Short Film:
“The After,” Misan Harriman and Nicky Bentham
“Invincible,” Vincent René-Lortie and Samuel Caron
“Knight of Fortune,” Lasse Lyskjær Noer and Christian Norlyk
“Red, White and Blue,” Nazrin Choudhury and Sara McFarlane
“The Wonderful Story of Henry Sugar,” Wes Anderson and Steven Rales
Until next year's Oscars ceremony, may the magic of these moments linger, reminding us that in the world of film, the possibilities are endless, and the best is yet to come. Cheers to the winners, the dream weavers, and the enchanting world of cinema!