Count your ballots and check your predictions; another awards season has come to an end. On March 15, 17.9 million people tuned in to watch the 98th Academy Awards, celebrating films from 2025. Hosted by the returning Conan O’Brien, the night saw huge wins for Paul Thomas Anderson (PTA)’s “One Battle After Another,” which took home six Oscars total, including Best Picture, Best Director (PTA), Best Supporting Actor (Sean Penn), Best Adapted Screenplay (PTA), Best Editing (Andy Jurgensen), and the first ever Best Casting award for PTA’s long time collaborator Cassandra Kulukundis.
The fan favorite “Sinners” saw huge wins in Best Leading Actor (Michael B. Jordan), Best Original Screenplay (Ryan Coogler), and Best Score (Ludwig Göransson). The film also made history with Autumn Durald Arkapaw’s Best Cinematography win, making her the first woman to ever do so. Guillermo del Toro’s “Frankenstein” dominated technical categories (Production Design, Costumes, and Makeup), while “KPop Demon Hunters,” now the most-watched film on Netflix ever, won Best Animated Feature and Best Original Song for “Golden.” A rare tie occurred in Best Live Action Short Film for “The Singers” and “Two People Exchanging Saliva,” making it the seventh tie in Oscars history.
The broadcast also honored cinematic icons who sadly passed away last year with the ceremony’s longest In Memoriam segment to date. Billy Crystal opened the montage honoring his best friend and an iconic director, the late Rob Reiner, giving a retrospective on both their personal relationship and Reiner’s incredible body of work. A group of actors with longstanding ties to Reiner, including Meg Ryan, Kiefer Sutherland, Fred Savage, Demi Moore, and John Cusack, then came on stage for a tribute. While titans like Robert Duvall, Catherine O’Hara, and Val Kilmer were honored in the titular montage, Barbara Streisand gave a personal speech about her friend Robert Redford, while Rachel McAdams similarly spoke about her mentor Diane Keaton.
Though the broadcast saw declining viewership from the previous year’s broadcast (19.7 million viewers in 2025 to 17.9 million in 2026), the audience reception to this year’s winners was largely positive. After earning eleven Academy Award nominations with no wins, Paul Thomas Anderson finally achieved his coronation for one of the most critically acclaimed films of the year, “One Battle After Another.” Cinephile favorite “Sentimental Value” won Best International Feature, giving Norwegian director Joachim Trier his first-ever Oscar. But most importantly, the overwhelming love for “Sinners,” especially evident in Michael B. Jordan’s electrifying win, signifies a shift in the Academy from prioritizing traditional, “Oscar-bait” films to recognizing original, genre films. “Sinners,” a supernatural-musical-vampire-action-thriller, is not the kind of film that would have even come close to being recognized twenty years ago. With a record-breaking sixteen nominations and Jordan’s win (on his first-ever nomination, no less), the film marks a groundbreaking movement in the voting body away from solely honoring what would be traditionally perceived as awards-friendly films.
It seems, as of late, the Academy is slowly making room for genre films and aligning with what modern viewers want to watch. This year, Amy Madigan won Best Supporting Actress for her villainous performance in “Weapons,” and last year, “The Substance” (2024) — Coralie Fargeat’s body horror extravaganza — achieved an unprecedented Best Picture nomination. Furthermore, beloved artists like Robert Eggers and Jordan Peele have recently gained Academy recognition for their mastery of horror.
As we say goodbye to 2025, it’s difficult not to feel giddy about what’s coming up. There are so many exciting projects coming out this year from legendary directors and discoveries alike. As someone who believes every season is awards season, here is a preview of some upcoming films that could be the next to hold their very own golden statue.
The Odyssey (Universal) dir. Christopher Nolan (July 17)
Synopsis: An adaptation of Homer’s ancient Greek epic “The Odyssey.” Odysseus, king of Ithaca, embarks on an arduous ten-year journey home to Ithaca after the Trojan War.
Ever since it was announced two years ago that Christopher Nolan was following up the colossal success of “Oppenheimer” (2023) with the first true adaptation of Homer’s epic poem, both film fans and casual viewers have been buzzing with excitement. It will be exciting to see how Nolan’s affinity for practical effects and limited use of CGI will translate into this fantastical tale. With more trailers and cast members slowly being revealed, it almost feels like it will be impossible for the film not to live up to its hype. The brooding score, the depth of the cinematography, and the stacked cast of Zendaya, Matt Damon, Tom Holland, Anne Hathaway, Lupita Nyong’o, Robert Pattinson, (and Travis Scott for some reason) — along with the fact that tickets for IMAX 70mm screenings of the film sold out an entire year before the film comes out — lead me to believe that this film is going to be the communal event film that we need now more than ever. Never doubt Nolan. Never doubt.
Dune: Part Three (Warner Bros.) dir. Denis Villeneuve (December 18)
Synopsis: The third and final installment in Villeneuve’s Dune film trilogy, based on Frank Herbert’s novel “Dune Messiah.” Seventeen years after Paul Atreides’ ascension to power, he struggles with the catastrophic repercussions of the Jihad waged in his name.
The highly anticipated conclusion to Denis Villeneuve’s meticulously crafted trilogy is coming out at the end of the year, with a trailer dropping the day after the Oscars (in what seems to have been a strategic play to direct attention away from Chalamet’s Oscar loss). As of writing this, the trailer sits at 35 million views on YouTube and has set the film community on fire — the visuals look stunning, the score by Hans Zimmer is epic as always, the action looks exhilarating, and the new characters played by Anya Taylor-Joy and Robert Pattinson look deliciously intriguing. Villeneuve’s adaptation of a book that had been viewed as unadaptable has been his longstanding dream, one that has proven successful in the eyes of book faithfuls and cinephiles alike. He has managed to create immersive, large-scale cinematic experiences while staying true to his sensibilities as a humanist filmmaker. This intention seems to be even more prevalent in this final film, which is an adaptation of Herbert’s “Dune Messiah,” whereas the first two films are adaptations of “Dune.” Herbert wrote “Messiah” as a way to drill in the point that Paul Atreides is not a character we should be rooting for — the book shifts from a sweeping hero’s journey to a meditative, philosophical reckoning that has direct allegories to abuses of political power and the justifications for wide-scale violence. While the first two Dune films feel like sprawling spectacles with high-energy action, “Dune Messiah” is a quieter, political intrigue story focused on dialogue and intimate character drama. I am interested to see how Villeneuve tackles this quieter story and am overjoyed to see how, having never read the books, Paul Atreides’ arc will come to an end.
Disclosure Day (Universal) dir. Steven Spielberg (June 12)
Synopsis: A government-mandated, worldwide release of classified UFO/alien information causes global chaos as characters reckon with the undeniable proof of alien existence.
Josh O’Connor, Emily Blunt, and Colman Domingo in a Steven Spielberg movie. Need I say more? While some people may believe that Spielberg has lost his touch with his recent string of films, I personally cannot relate to that mindset at all. With his last two films being “The Fabelmans” (2022) and “West Side Story” (2021), two films I adore, I have complete faith that “Disclosure Day” will at the very least be a fun, action-packed time at the movies. The premise also seems to be a return to his early sci-fi roots and touches on topical political conversations regarding censorship and what should or should not be disclosed to the public. Plus, the sound design in the trailer sounds incredible.
The Backrooms (A24) dir. Kane Parsons (May 29)
Synopsis: A film based on viral found-footage shorts by seventeen-year-old Kane Parsons. A therapist ventures into an otherworldly dimension in search of her missing patient.
Kane Parsons, or Kane Pixels on YouTube, is the youngest director in A24 history, having been hired at only nineteen years old to direct a feature film adaptation of his viral “The Backrooms” YouTube series. Though much of the plot is largely unknown, watching a few of his shorts on YouTube gives you a good sense of what the feature-length film will entail — found footage that creates a sense of anxiety and dread that rattles your bones. A feeling of being alone and scared and chased in the most realistic sense. Renate Reinsve and Chiwetel Ejiofor as the leads are also incredibly inspired picks! I am excited to see a fresh new voice in horror, even though the thought that Parsons is my age makes me want to throw up just a teeny tiny bit.
Saturn Return (Netflix) dir. Greg Kwedar (TBD)
Synopsis: Two college sweethearts navigate adulthood, friendship, and fate in Chicago over the course of a decade. The film explores love, loss, reconnection, and the transition from youthful dreams to the realities of adulthood.
A movie about lost love by the artistic duo behind “Sing Sing” (2023) and “Train Dreams” (2025), starring Charles Melton, Rachel Brosnahan, and Will Poulter. What more could I possibly ask for? This film feels like it was made for me and all the other hopeless romantics who want just a bit of faith to fuel their unrealistic expectations for love. This feels like a spiritual companion to Celine Song’s “Past Lives” (2023), an independent film debut that received, and continues to receive, an outpour of love from film fans. After making “Sing Sing” and “Train Dreams,” Greg Kwedar and Clint Bentley have a pass from me forever. I will follow them to the ends of the earth. To quote our queen Ayo Edebiri, “I’m seated. The theater employees are scared and asking me to leave because it’s ‘not August yet,’ but I’m simply too seated.”
Cry to Heaven (TBD) dir. Tom Ford (TBD)
Synopsis: An adaptation of Anne Rice’s 1982 novel. In the opera world of 18th-century Italy, male sopranos called Castrati were castrated to preserve their high voices. Tonio Treschi, a Venetian nobleman, is castrated by his brother in order to steal his inheritance. Tonio becomes a celebrated soprano under the mentorship of Guido Maffeo while navigating betrayal, revenge, and the decadence of Venice.
Officially wrapping production just a few days ago on March 23, the first film directed by Tom Ford (yes, THE fashion designer Tom Ford) since 2016 is set to be a major awards contender for the upcoming year. This adaptation of Anne Rice’s vengeful, decadent, historical melodrama about the opera scene in Italy seems primed for the big screen, boasting a stacked cast including Nicholas Hoult, Aaron Taylor-Johnson, Adele, George MacKay, Colin Firth, Paul Bettany, Owen Cooper, Hunter Schafer, and Lux Pascal, just to name a few. Tom Ford’s previous directorial outings of “Nocturnal Animals” (2016) and “A Single Man” (2009) have proved that he is a competent director with a knack for atmospheric storytelling, visual perfectionism, as well as luxurious aesthetics, and that he holds a sleek yet assured control of the camera. Ford’s strengths as a filmmaker and his prowess in highlighting the “cinematography of the body” feel perfect for exploring the tension between gender and identity for the Castrati and the viscerality of revenge.
No One Cares (A24) dir. Jesse Eisenberg (TBD)
Synopsis: A shy woman is unexpectedly cast in a local production of an original musical. Under the spell of the strong-willed and enigmatic director, she loses herself in the role and the high-stakes world of this community theater production.
As someone who owns the screenplay of Eisenberg’s 2024 film “A Real Pain” and has read through it at least ten times, I am jumping with excitement that we get another film from one of our great writer-directors. Similar to Kwedar and Bentley, “A Real Pain” is so perfect to me that Jesse Eisenberg gets a free pass from me forever. This film feels right up his alley — a heartfelt comedy-drama that tugs at your heartstrings and speaks to a humanity that everyone can relate to. His writing is so concise yet effective, and so personal that only a few words can make you sob like a baby. Though this film feels a bit more ambitious than Eisenberg’s previous two directorial outings, with him writing the songs of the musical himself, I have complete faith that this will be a great film, especially with the incomparable Julianne Moore and Paul Giamatti at the forefront!
Here are some more films you should keep on your radar!
Possible Love (Netflix) dir. Lee Chang-Dong (TBD)
- The director of “Burning” (2018) is making a film about the tension between love and commitment and existentialist epiphanies? Count me in.
Teenage Sex and Death at Camp Misama (Mubi) dir. Jane Schoenbrun (August 7th)
- “I Saw The TV Glow” (2024) is a special film I haven’t stopped thinking about since its release two years ago. Jane Schoenbrun is a one-of-a-kind filmmaker who is able to translate their sensibilities into deeply personal yet entertaining genre films, and the trailer for “Camp Miasma” (2026) makes it feel no different. I am unbelievably excited for her new film.
1949 (Mubi) dir. Paweł Pawlikowski (TBD)
- The director of the modern classic “Cold War” (2018) is collaborating with Sandra Hüller and Łukasz Żal (cinematographer of Hamnet) … I’m sat. The movie seems primed to be a major awards contender as well!
Her Private Hell (Neon) dir. Nicholas Winding Refn (TBD)
- As a huge fan of Refn’s cult classic “Drive” (2011), I am kicking my feet in excitement for this “hypnotic, unhinged thriller with an original story promising plenty of glamour, sex, and violence.” The cast of Sophie Thatcher, Charles Melton, Havana Rose Liu, Kristine Froseth, and Diego Calva is enough to make a grown woman (me) cry.
Behemoth! (Searchlight) dir. Tony Gilroy (TBD)
- From the showrunner, creator, and head writer of “Andor” (2022-Present) and the director of “Michael Clayton” (2007), I am excited for Gilroy to turn to more feel good material while still retaining his sharp, biting dialogue. The film is also described as a love letter to the music of the movies and is led by Pedro Pascal, Olivia Wilde, Will Arnett, and Eva Victor — in other words, this was made for me.
The Unknown (Neon) dir. Arthur Harari (TBD)
- From the writers of “Anatomy of a Fall” (2023). A body swap film. Lea Seydoux. Give it to me now!
Digger (Warner Brothers) dir. Alejandro González Iñárritu (October 2nd)
- Iñárritu is back, and Tom Cruise is playing an 80-year-old insane person. It doesn’t get much better than that.
The Social Reckoning (Sony Pictures Classics) dir. Aaron Sorkin (October 9th)
- As conflicted as I am with Aaron Sorkin as a director, there is no denying that he is simply one of the best writers of our generation. Jeremy Strong playing Mark Zuckerberg is an image I can’t quite fathom in my mind, and I have all the confidence in my mind that Mikey Madison is going to turn up an incredible post-Oscar performance.
Ink (TBD) dir. Danny Boyle (TBD)
- Danny Boyle is slated to direct a new film based on James Graham’s play about the 1960s rise of Rupert Murdoch’s media empire. As a sucker for fast-paced journalism movies, I am so excited for this one!
Fjord (Neon) dir. Cristian Mungiu (August 19th)
- Mungiu has a knack for painting politically austere portraits of society in a signature darkly comedic way. Renate Reinsve and Sebastian Stan together again (justice for “A Different Man” [2024]) in a film about immigrants and otherness? I am champing at the bit to see this.
All of a Sudden (Neon) dir. Ryuske Hamaguchi (August 12th)
- Hamaguchi’s “Drive My Car” (2021) and “Evil Does Not Exist” (2023) have been the best films of their respective years, and I am confident that this will be no different. His philosophical, existential, and intimately moving films are just what the industry needs right now.
Jack of Spades (TBD) dir. Joel Coen (TBD)
- Josh O’Connor. Gothic horror mystery. That’s quite literally all I need in life.
Sheep in a Box (Neon) dir. Hirokazu Koreeda (May 29th)
- From the director of “Shoplifters” (2018) and “Monster” (2023), two incredibly heartfelt yet quietly devastating films, Koreeda’s venture into sci-fi territory is an exciting one. His intimate storytelling and patient realism that invites the audience to be a part of characters’ personal daily lives has made him a personal favorite of mine. So excited for this.
The Chaperones (A24) dir. India Donaldson (TBD)
- From the director of the incredible independent film “Good One” (2024), this buddy comedy starring Cooper Hoffman, David Jonsson, and Paul Dano is definitely one to keep on your radar.
Wishful Thinking (TBD) dir. Graham Parkes (TBD)
- This sci-fi-romance-comedy starring Maya Hawke and Lewis Pullman just won the Narrative Jury Award at the SXSW Film Festival and has been lauded by critics. Itching to see this!
Clarissa (Neon) dir. Aerie & Chuko Esiri (TBD)
- As of now, not much is known about this film, but a re-imagining of “Mrs. Dalloway” set in Lagos starring Ayo Edebiri, David Oyelowo, and Toheeb Jimoh sounds too good to be true!
I Love Boosters (Neon) dir. Boots Riley (May 22nd)
- Boots Riley is one of the most exciting filmmakers working today. His follow-up to “Sorry To Bother You” (2018), one of the most unique and exhilarating debuts I’ve seen, has gotten great reviews out of SXSW, and the trailer has more colors and vibrancy than both “Wicked” (2024 & 2025) films combined (sorry, shallow dig).
The Drama (A24) dir. Kristoffer Borgli (April 3rd)
- The first out of the three Zendaya and Robert Pattinson collaborations is looking to be a great one. A24 has been going all out on the marketing of this film, and word on the street is that there is a huge twist in the middle of the film … This one comes out in just a matter of days, so get your tickets quick!
