“Anora,” the tale of a sex worker who weds the spoiled son of a Russian oligarch, celebrated victory at the 97th Academy Awards on Sunday, securing five Oscars, including the award for best picture. Its triumph concluded a chaotic awards season, one that shifted frontrunners at a rapid pace with competitors such as “Emilia Pérez” and “The Brutalist” experiencing fluctuating fortunes as controversies regarding offensive tweets to the utilization of AI disrupted their campaigns.
It was also a competition that took place amid one of the worst natural calamities in Los Angeles history, a fact acknowledged by the Oscars through tributes to the firefighters who strove to protect communities engulfed by the wildfires, in addition to a montage showcasing numerous films filmed in the city, from “The Long Goodbye” to “Licorice Pizza.”
Sean Baker, the visionary behind “Anora,” was honored for his roles in producing, directing, editing, and writing the film’s screenplay, making history as the first individual to win four Oscars for a single film. It was an exceptional acknowledgment from the entertainment industry of a director who has mainly worked independently, creating budget films such as “Tangerine” and “The Florida Project.” Baker’s most recent movie had a production cost of only $6 million. It received much acclaim from critics, and its Oscar triumph represents a significant achievement for Neon, the independent distributor of “Anora,” which also led “Parasite” to win the best picture award in 2020.
Despite earning $40 million worldwide, “Anora” stands as one of the lowest-grossing best picture winners ever. However, the majority of the films recognized by the Oscars this year were produced by independent producers and firms. It reflects how reluctant studios, which invest most of their efforts in creating franchise content, have become to producing the adult-targeted movies that prevail during awards season. The blockbuster films that earned best picture nominations, like “Dune: Part Two” and “Wicked,” only achieved victories in technical categories.
Adrien Brody (“The Brutalist”) and Mikey Madison (“Anora”) received the highest acting accolades. Brody, a past champion for “The Pianist,” was celebrated for his role as a brilliant architect facing challenges in finishing his masterpiece, while Madison achieved a surprising win for her performance as an exotic dancer pressed to obtain an annulment from her wealthy spouse.
Read more: ‘The Brutalist’ Faces Criticism After Editor Discloses AI Use in Dialogue and Architecture
A stunned Madison, who was anticipated to lose the award to Demi Moore from “The Substance,” contemplated her path to Oscar night. “I was raised in Los Angeles, yet Hollywood always seemed distant, so being here, in this room today, is truly amazing,” she stated. Madison proceeded to express her support for the sex worker community, referring to herself as “an ally.”
Brody’s victory, one of three awards for “The Brutalist,” followed a string of unsuccessful films and career obstacles that had pushed him to the sidelines in the film industry. He mentioned a shift in luck while receiving his award. “Acting is a highly delicate profession,” Brody remarked, as he discarded his used gum to his partner Georgina Chapman prior to stepping on stage. “Regardless of your career stage or achievements, everything can vanish.” I believe that what makes this night truly special is the recognition of that. “And the appreciation I feel for being able to continue the work I am passionate about.”
Kieran Culkin (“A Real Pain”) received the award for best supporting actor for portraying a conflicted individual on a tour of Poland with his cousin, while Zoe Saldaña (“Emilia Pérez”) earned the title of best supporting actress for her role as a lawyer assisting a cartel leader with gender affirmation surgery.
With tears rolling down her cheeks, Saldaña described herself as “a proud daughter of immigrant parents.” She remarked, “I am the first American of Dominican descent to receive an Academy Award, and I am aware that I will not be the last.”
In a candid speech, Culkin let slip an f-bomb and reminded his spouse, Jazz Charton, that she had vowed to have additional kids if he secured an Oscar after he won an Emmy for “Succession.” “Let’s start working on those kids,” Culkin joked. “What are your thoughts?”
Among other significant winners, “I’m Still Here,” a family drama taking place during Brazil’s military dictatorship, was awarded best international feature. It was the country’s inaugural victory of this honor. “Flow,” a fantasy adventure from Latvia centered on a cat’s struggle to endure a flood, secured the title of best animated feature, surpassing major studio films such as “The Wild Robot” and “Inside Out 2.” And “No Other Land,” which examines the Israeli government’s attempts to evict Palestinians from their residences in the West Bank, won the best documentary award despite challenges in obtaining distribution. The movie was helmed by a group of four activists who are Palestinian-Israeli.
“We urge the global community to take decisive measures to end the injustice and halt the ethnic cleansing of the Palestinian population,” stated Basel Adra, a Palestinian journalist and one of the directors of the film. “Around two months back, I became a dad, and I wish for my daughter that she won’t have to experience the same life I’m living now.”
Conan O’Brien, a fixture on late night television who has transitioned into a podcasting mogul, hosted the Oscars for the first time, succeeding Jimmy Kimmel, who had hosted three earlier ceremonies. His opening monologue made jokes about various topics, from the show starting at 4 p.m. (“everyone here just finished brunch”) to the social media controversy involving “Emilia Pérez” star Karla Sofia Gascón (“Karla, if you’re tweeting about the Oscars, my name is Jimmy Kimmel.”) Additionally, there was a musical performance focused on the Academy Awards’ famously extended durations, along with an appearance by Adam Sandler in a hoodie.
However, Donald Trump was mostly not referenced, marking a contrast to past Oscar ceremonies during his initial term and the period between his administrations when he was frequently criticized. There were several references to “our tumultuous times,” and host Daryl Hannah expressed her backing for Ukraine, whose leader recently faced a terrible Oval Office meeting with Trump. However, most of the critiques aimed at the president were implied rather than stated directly.
The event also featured a tribute to the James Bond franchise, which garnered attention last month when Amazon MGM acquired creative rights to the series from the Broccoli family. During a musical showcase highlighting 007 theme songs such as “Live and Let Die” and “Diamonds are Forever,” Halle Berry referred to Barbara Broccoli and Michael G. Wilson, the film series’ longtime producers, as “the heart and soul of this franchise.”
“Each generation has its own Bond, you see — the world turns, it changes, and so does he,” she remarked. “However, that unique blend of risk, fashion, and fascination is truly everlasting.”
At this moment, reflecting the evolution of Hollywood, it is an online retailing behemoth, rather than a conventional studio, that will shape the future of the film industry’s most lasting franchise.
Baker delivered the most fervent argument in favor of the moviegoing tradition, urging the audience to back cinemas.
“Cinema houses, particularly those that are independently operated, are facing difficulties,” Baker stated. “Throughout the pandemic, we lost 1,000 screens in the U.S., and we are still losing them consistently.” If we do not change this trend, we will be losing an essential aspect of our culture. This is my rallying call. Directors, continue creating movies for theatrical release. “I am aware that I will.”
