In The Shadow Of The Cypress (2024)

There has been a trend in nominees the Best Short Animated Film category for the Academy Awards that there is both less child oriented in content and they tend to run a lot longer than what Disney and Pixar produce, and this 2025 winner is an excellent example of that seeming trend. It is a vivid depiction of what PTSD is like to experience for the sufferer as well as what they are like to live with. The film begins with a Persian man, who is shown struggling with mental health issues. His daughter tries to intervene and comfort him, but without much luck. The man reflects on his past through vivid dreams and memories. His ship was damaged during the war and is in need of serious repair, adding to his stress. While he is experiencing this mental breakdown, a whale washes up on the shore near their home. They are without the resources to free the heavy marine mammal, but the daughter tries to comfort it by splashing water on it as it lays in the sun, and then spreads wet towels across its back to keep it cool. The father sees her efforts as hopeless, and offers little assistance. Later, however, he is struck with an idea – one that would sacrifice his ship but could free the whale. The film touches on many topics, including the environment, war, women's issues, and, most importantly, the dynamic between the father and daughter.

The Quilters (2024)

This short documentary was short listed for the Oscars in 2025, but it did not make the final cut. I love the short list though, because many of the documentaries are as good if not occasionally better (in my opinion) than what makes it to the nomination phase, and this is one such example. It is not because it is about quilting and that I am a quilter--it is about finding purpose in a place where there isn't much of that. The quilters are in prison, many of them for decades, and the quilts they make are for children in foster care--which is a place many of them are familiar with. The fabric is donated, and while they do not focus on this, they seem to be quilted by one long arm quilter--very fascinated about how he chooses designs and watching that process, but that is not included. They have very entry sewing machines and have to design with the fabric they get that is donated. They know very little about each kid they are making a quilt for, and yet they put a lot of thought into what they are going to do, and why. It is well worth watching and even better, think about the threads that it pulls in terms of what it means to all of us as we think about incarceration.

I'm Still Here (2024)

I finally saw the last of the 2025 Best Picture nominations, and this was fantastic. It is also based on a real story, and the film recreates the settings and the time. It is 1970 in Rio de Janeiro, where Eunice and Rubens live with their five children by Leblon Beach. With white sand as soft as pillows and blue seas as clear as the sky, the idyllic locale should be a soft landing for the Paiva family. An architect and former congressman, Rubens has only recently returned to the country after a six-year self-exile due to the 1964 coup d’état. For the family, however, the dictatorship is never far from the foreground. Military helicopters fly over the beach, and trucks carrying additional troops occupy the streets. Television news stations cover the release of the German and Swiss ambassadors from anti-government factional custody. Rubens also takes secret phone calls in his office, coordinating pickups and drop-offs of packages. The collapse occurs when Rubens is taken for questioning by plain-clothed army officials, a catastrophe that takes the film to darker places and engenders many unanswerable questions. And while it’s not a spoiler to say Eunice and her children will never see Rubens again, those hopeless queries aren’t necessarily what the movie is about. Rather, this poignant film concerns the response to having neither a definitive answer nor final closure. Eventually, Eunice and Eliana will be taken in for questioning, psychologically tortured, and then released. Eunice will pick up the pieces and dig, becoming politically active in the process. We will follow her struggle through the decades—her career as a professor and supporter of Indigenous rights—leaping to São Paulo in 1996 before settling in 2014. She made a life after that was both all her own and honored the legacy of her husband.

Sing Sing (2024)

This is--weirdly--a feel good prison movie. It does not romantacize prison. Prison in this movie is a cold, cruel place full of violent men whose daily life revolves around trying not to antagonize the alpha dogs within the prison population or the guards looming over them. Rather it is a story about a group men serving time in prison whose participation in a theater arts program gives them something to look forward to and improves them as human beings. Colman Domingo, who deservedly received an Oscar Nomination for his role, plays Divine G, one of many real people who went through the program. He was an actor and aspiring playwright in high school before his life went off the rails. He’s a devotee of theater, loves to act and read plays, and approaches it all with the quiet fervor of somebody who found religion behind bars. Some of the most memorable images in this movie focus on Domingo’s face in closeup as Divine G performs, thinks, or silently observes others. The movie is upbeat. The scenes are allowed to play out in a way that feels real, especially in the drama club meetings. Participants are shown rehearsing scenes, talking about their meaning and construction, giving each other notes on how to perform the material, and talking about how the art informs their lives and how their lives inform their performances. The end effect is lasting and hopeful, despite all the hate being poured on people of color in the current administration, may we survive it.

September 5 (2024)

This is a dramatic retelling of the violent kidnappings of the Israeli national team by Palestinean terrorists during the 1972 Munich Olympic Games. The script was nominated in the category of Best Original Screenplay and it is my last movie to watch in that category (it did not win). Most of the movie takes place inside a TV control room, where ABC Sports broadcasters faced an unprecedented crisis. The first surprise is that the lead actress from the film The Teacher's Lounge (one of last year's nominees for Best International Film) is in this as a reporter/translator who provides the link for the ABC reporting team on what is being reported on German television--she is very good, and I was glad to see her in an American movie. It is hard to remember, having lived through the first Persian Gulf War, which took place during prime time viewing hours, that there had never been a televised event like this before. It took a while to realize that if the entire world could see certain aspects of the crisis live and in real time, that meant the gunmen could also see it, adapt their tactics to counter the efforts of police, and indulge in political theater for a billion-plus viewers. The movie manages to picture the madness through what feels like both fresh eyes and period broadcasting. It make you feel like you’re in the thick of it is a remarkable achievement, even though the movie ultimately thins itself out by glossing over historical and political context and treating the incident as a primer in media ethics. Well worth watching.

A Complete Unknown (2024)

Wow. Just wow. I first saw Bob Dylan in the early 70's when I was in high school--I was, in retrospect, lucky to have a boyfriend who was into really great music, and while Dylan had some unevenness as a performer, he is an incredibly gifted lyricist. Watching Timothee Chalomet inhabit his character for a couple of hours was amazing for me. I knew most of the story and the sequence of events--I am, afterall, a life long fan of Dylan. While I saw the Grateful Dead way way more live, I listened to Dylan's music more than any other music across my lifespan. My children know his music, at first because they had little choice, it surrounded them, and late for enjoyment. Ballads, songs that tell a story, are my favorites, and his are some of the best. So it is impossible for me to judge this a a cinematic work--I loved spending time listening to Chalomet's renditions of Dylan's songs, both musically and vocally, because it evoked all of those experiences over decades of my life, and he was pitch perfect at the details. I appreciate his dedication to his craft and how faithful to his subject he was able to be. This wasn't overwhelmingly successful on the awards circuit, but it was one of the most enjoyable movies of the year for me to watch.

The Brutalist (2024)

This film clocks in at 3.5 hours, so maybe it is not surprising that within that kind of time frame you can pacak a lot in, but it covers so many things without specifically hammering, highlighting, or bullet-pointing them. Sure, it’s impossible to miss the commentary on capitalism and the casual cruetly of the super rich, but it’s also a story of immigration, addiction, Zionism, architecture, inequity, class, violence, and sexual predation. There are themes of generational trauma, particularly exploring the lasting impact of the Holocaust on a Hungarian-Jewish architect, László Tóth, who immigrates to post-war America, where his art and personal life are continuously shaped by his traumatic past, manifesting in his architectural designs and relationships with others; essentially, his buildings become a physical representation of his internal struggles with the trauma he carries from the concentration camps. László is a difficult man. The embodies brutalist architecture: it is stark, with clean lines, paradoxically somewhat ugly yet strangely beautiful. László is impactful, hard to like and hard to forget, all wrapped up with agony and self abuse. It is a masterful performance by Adrien Brody, whose grandmother was a Hungarian Jew who hid her ethnicity and whose mother, Sylvia Plachy, is a photographer. He said, "My mother and my grandparents owned a very similar journey of fleeing war-torn Europe and coming to the U.S. And the hardships and sacrifice and their own resilience and everything that they endured — in addition to my mother as an artist and her yearnings to leave behind a body of work of some great significance, they’re all things that are very personal to me. So I felt a deep responsibility to convey that authentically." Consider it done.

No Other Land (2024)

The documentary that could not get a U.S. distributer (it is a political hot potato) and few interviews (one of the directors is Palestinean) won the Best Documentary at this year's Oscars, as well as at many other award ceremonies. It is directed by the courageous Palestinian-Israeli filmmaking collective of Basel Adra, Hamdan Ballal, Yuval Abraham and Rachel Szor and it is compassionate, thoughtful, and even revolutionary. It is a devastating profile of the community of Masafer Yatta (a group of Palestinian villages in the West Bank constantly on the brink of destruction), the people living in perpetual uncertainty, and the way state violence consumes entire generations. This battle is mostly seen through the young eyes of Basel. A 28-year-old Palestinian activist, filmmaker and journalist, he has spent all of his life living in the shadow of annihilation as the documentary captures how the Israeli military routinely destroys their homes with bulldozers. In every shot where we see these convoys of destruction approaching on the horizon, there is a sense of grim familiarity and impending loss seen in the faces of the people we cut to. It’s a compassionately constructed film — it never looks away from the grimness.

The Nickel Boys (2024)

The book is brutal to read and I kind of dreaded watching the movie because of the intense brutality of it, literally killing black children sadistically and repeatedly, and I just wasn't sure how I could watch it unfold in living color. I was right to brace myself for the impact, it wasn't what I was expecting either. I did not know this when I watched it, but the director's previous feature was the Oscar-nominated 2018 documentary Hale County This Morning, This Evening. As documentaries go, it was a lightning-strike cinematic discovery. With a certain kind of fragmented, intimate lyricism, it immersed the viewer in the details of Black life in a small Alabama town, gradually centering on a few years in the lives of two teens. It was impactful, truthful, and horrible without being overly gruesome. This one is quite different, but has some sameness as well. The stories of two Black teens confined to a brutal Florida reform school, is told from the point of view of his protagonists (which I learned from a reviewer that this is called the subjective camera, and people almost uniformly dislike it, so it is risky, but I thought it was successful in conveying the pain as well as engendering sympathy). Whitehead’s novel is sad and infuriating. It starts off as the story of Elwood Curtis, a precocious introvert growing up in a rural town in the Jim Crow–era South. He winds up at Nickel Academy after he hitches a ride with the wrong man on what would have been his first day taking classes at a nearby college. He meets the laid-back cynic Turner, a Houston native who’s on his second stint at Nickel and has few illusions about anyone’s chances of getting out of this nightmare through official means. The filme slips back and forth between their time at Nickel and the present day, and between the optimistic Elwood and the realistic Turner--the so-called reform school was modeled after the real-life Dozier School for Boys, a monstrously abusive institution from whose grounds nearly a hundred burials have been discovered in recent years, and for me, knowing the real life ending for so many who were there makes it all the more horrible to watch unfold, but this story is beautifully told in this film.

Alien: Romulus (2024)

I watched this in my quest to watch every Oscar nominated movie this year--and I have to say that while the Visual Effects category is almost always filled with movies that I would not otherwise watch, that is the whole point of the undertaking, to stretch yourself with a list that has been curated by people who really care about this stuff and then try to see what it is that made them choose each one. Sometimes--not this time, but sometimes I find a real gem, and so the quest continues. One review I read started off with: "An amazing addition to the Alien universe." This is one clue as to why this did not resonate with me, because my knee jerk thought is "What Alien universe?" So clearly I do not get it. My first thought as the movie got underway was that this is the third horror movie I had watched in the 2025 Oscar watch party. A personal high, I think, and not a genre that I like either. My spouse and one of my kids watched The Substance without me and my offspring noted "Mom is *not* going to want to watch this." Right on brand for me--this one was kind of an action adventure horror movie, and I will say that the actors gave it their all. The movie delivers a gritty experience reminiscent of the original film, with impressive world-building and and majorly creepy villians that make its nomination in this category well-deserved.

The Girl With The Needle (2024)

This is the Oscar nominee for Best International movie, which is from Denmark. To say that it is on the dark side is to ill prepare the viewer for what is to come. This is a relentlessly grim movie, one that serves as a reminder that women on the fringe of the economic ladder have been marginalized for generations, around the world. I did not know this, but read in a review that it is based on the true story of a Danish serial killer named Dagmar Overbye, which only becomes apparent later. What is apparent is that the movie becomes almost numbing in its brutality. The main character is Karolina, who is being evicted from her apartment for non-payment of rent when the movie opens. Her husband is a soldier in WWI and she has not heard from him, and what she makes at her job as a seamstress. Things go from bad to worse when her husband returns severely disfigured as well as psychologically damaged from the war, and she is abandoned by her wealthy lover when she becomes pregnant and his mother doesn't approve. She meets up with a woman who offers to help her find a home for her baby. She never quite turns the corner to a better life, but her journey is unexpected.

The Six Triple Eight (2024)

There is a lot to like about this movie, especially if you are a bit of a Tyler Perry fan--I admit that there is a lot of melodrama in his writing and directing, but he is a star when it comes to telling stories about African-Americans and his actors are largely black, which I appreciate. This is based on a true story of the women of the all-Black 6888th Central Postal Directory Battalion who faced ruthless racism while serving during World War II. It is told through the eyes of Lena Derriecott King, a woman who joins up after her true love is killed in action, and Major Charity Adams, her commanding officer. The situation is this--the black regiment is marginalized in blatantly racist ways--but then Mary McLeod Bethune, a close personal friend of First Lady Eleanor Roosevelt, took up their cause and volunteers them for a Herculean task. Mail was not leaving the front and it wasn't being delivered there either and it was easy to relate to the idea that it was causing morale problems for the troops and a lot of anxiety for loved ones at home. Ms. Bethune, who was able to advance the stature of African American women through her friendship with Roosevelt, put forth that the 6888 could do the task of sorting the mail--which they did, despite enormous obstacles, both real and manufactured. They were the only black women to serve in Europe during the war, and the end of the movie shows a number of them who are still alive today--at 100 years old, more or less. This is nominated for an Academy Award in the Original Song category, and you have to watch to the end to listen to it.

The Seed of the Sacred Fig (2024)

The reason that this is Germany's submission for best international film and not Iran's is that the director, Mohammad Rasoulof, is a fugitive Iranian director and dissident wanted by the police in his own country, where he has received a long prison sentence and flogging. It is one of the five films nominated in that catagory for the 2025 Academy Award. The movie begins as what my kids would call a downbeat political and domestic drama in the familiar style of Iranian cinema, and then progressively escalates to something extravagantly crazy and traumatized. Iman is an ambitious lawyer who has just been promoted to state investigator – one step short of being a full judge in the revolutionary court. He gets a handsome pay raise and better accommodation for his family: which consists of his wife and two student-age daughters. But the promotion almost immediately brings disappointment and tension: Iman, a judicious man, is stunned to discover that he is expected to rubber-stamp death-penalty judgments without reading the evidence. He is told that he must now be secretive with friends and family who could be threatened and doxed by criminal elements as a way of pressuring him. There are a series of unfortunate events that co-occur in the midst of the widespread protests in 2022 (which are shown in the movie with actual footage taken at the time) and the situation quickly deteriorates fpr Iman's family.

Anora (2024)

Wow. This is on the one hand a story you might think you have heard before. "Pretty Woman with a more realistic ending" or "Cinderella Russian style", but for me it is another "Life on the Margins" story by the director-writer who brought us another gem in this genre, The Florida Project. The title character, a vivacious Russian-American named Ani (short for Anora), she is doing exotic dancing and sex work, which is a matter-of-fact livelihood for her. She isn’t waiting around for a knight in shining armor to whisk her away from the club she works at. She just goes about her business with her clientele, and bickers with the other girls in the same profession—some, her genuine friends, and others, her rivals. Along comes Ivan, the prodigal son of a Russian oligarch, who looks and acts like he is in high school. He enlists Ani’s services one night and the two hit it off rapidly. She becomes his American fantasy, and he becomes her generous high-roller, bringing her out to his giant seaside mansion in Brooklyn for a fancy New Year’s Eve party and other affairs. It isn't until they get married that things start the unraveling process, a tragi-comedy that doesn't make the oligarchs look any better than you would imagine.

Nosferatu (2024)

This is the second horror movie that I watched this year because it is an Oscar nominee. I should really turn that around to make it more accurate. I watched a second horror movie this year because I very much enjoy watching the Oscar nominees. This is not a genre I watch either regularly or for pleasure, so a word of warning--my thoughts on it are notgoing to jive with an enthusiast of the medium's assessment. The movie is a fusion of two sources, the original 1924 silent film “Nosferatu: A Symphony of Horror,” directed by F.W. Murnau; and Bram Stoker’s novel Dracula and the 1932 Tod Browning movie that adapted it. I have watched neither of these, but I watched this with someone who had, and he was able to pretty much anticipate where the movie was going and what each scene was meant to convey--I will add that he was a film major, so we are used to his musings mid-film. It is essentially a love triangle with Nosferatu, aka Count Orlak, the young socialite Ellen Hutter, whom the monster sees as his soulmate, and whose sleeping and waking consciousness he invades with escalating force, and Ellen’s husband Thomas Hutter. Thomas is the stooge here, and he journeys from England to the count’s castle hoping to purchase it and please his boss at a London real estate company thus improving his family’s fortunes. It is of course a fool's errand, and he rather quickly ends up in thrall to the beast and increasingly marginalized as Nosferatu becomes increasingly obsessed with Ellen. It is a pretty standard tale of horror, so you can guess where it is headed. There is a lot of Gothic histrionics and not much substance for my taste.

A Real Pain (2024)

It seems like there are a small handful of movies that feel quite independent, meaning that they feel special and well done with a message. They are also likely to be commercial duds, able to make back what they cost to produce, but not blockbuster material, but that are both enjoyable and a bit painful to watch. This is one such movie this year--it is nominated for best Supporting Actor and Best Original Screenplay. The story follows two cousins — David, played by Jesse Eisenberg (who wrote and directed the film), and Benji, played by Kieran Culkin — their grandmother has died and left them a little bit of money. They embark on the concentration camp tour of Poland to find out a bit more about her--she was a Polish Holocaust survivor. I have done this trip myself with a Polish Jew who survived the war by hiding in the woods. It is a harrowing experience, mostly because of the magnitude of what the Germans did on such a massive scale. The two men were once as close as brothers, the two have since drifted apart. David has a wife, a kid and a successful career. Benji, on the other hand, is an impassioned man with nothing really going on in his life. As the two explore Poland with a Holocaust tour group, Benji’s social abrasiveness and strong opinions both unsettle and endear him to David and the group. Having just read The Anxious Generation and the struggle of boys moving from childhood to adulthood, there is a real embodyment of that struggle here.

The Apprentice (2024)

The story of Trump's life is best told in this movie at the beginning. two distinct chapters: an hour in the ‘70s wherein a young, relatively naïve Trump (Sebastian Stan) learns the art of the deal from the relentless manipulative Cohn (Jeremy Strong). Then an hour about a decade later, when Trump has risen to a level of corruption and amorality that he would maintain for most of his life. The first half has an intriguing concept, and is reasonably well-told, but the second half falls short on where he has gone since then--that is less important, since now that we are getting the Trump 2.0 administration we can see that he is just all about breaking things, that his feelings are so badly hurt by having lost to Joe Biden, a man who is even older than he is, that he just wants to fleece everything and everyone, and he cares not a wit about who and what gets broken in his path. So, as you might suspect, this movie has two distinct chapters: an hour in the ‘70s wherein a young, relatively naïve Trump (Sebastian Stan) learns the art of the deal from the relentless manipulative Cohn (Jeremy Strong). Then an hour about a decade later, when Trump has risen to a level of corruption and amorality that he would maintain for most of his life. The first half has an intriguing concept, and is reasonably well-told, but the second half falls short of shedding any light beyond that, and maybe it is no more complicated than it seems. Pray that the techno-oligarchs do not destroy us all, and that we can survive this F6 tornado that has been unleashed on us all.

Conclave (2024)

This film is nominated in a few categories, but I feel like the whole is greater than the sum of it's parts--the Critics Choice Awards agreed and awarded this Best Cast. The movie sets the stage right away. The Pope is dead. If there is ever an organisation that has embraced the pomp and circumstance, it is the Catholic Church, and this happens in death just as much or even more than life. Cardinal Thomas Lawrence (Ralph Fiennes), who is Dean of the College of Cardinals, has to convene a conclave to pick the next Pope even though he protests that he is unworthy of the task. However, as cardinals fly in from across the globe, it is clear that there is tension regarding how the Church will move forward and also that everyone who is asked will serve, even those who protest they do not want the job. Will they go backwards and embrace tradition or will the vault forward and seek modernization? Or maybe somewhere in between. As the succeeding votes go forward, one secret after another is revealed, and popular candidates gradually lose momentum, until in the end, they make a choice. It is very well scripted and acted, and it is well worth watching.

The Substance (2024)

This is an exaggerated yet very well done horror film. It is a genre that I know almost nothing about and have very little experience with, but given those caveats, this seemed adsurdly bloody as well. The bottom line in this movie is that if you are not seen you do not exist and to be seen and female, you have to be youthful. Elisabeth Sparkle (Demi Moore), is the aging star who has had a career spent in front of cameras — first as a celebrated actress, and then as a celebrity fitness instructor— abruptly ends when an executive (played with exaggerated offensiveness by Dennis Quaid) decides she’s too old to be worthy of being seen. He gets to decide if anyone wants to look at her, and if he turns the cameras away, who is she? At least that is how it appears that she feels because when she is offered a Mephistophelian bargain--she takes a substance that will make her young--but only every other week--she jumps at the opportunity, and at first it goes very very well, but this being a horror movie, then it does not, and how very wrong it goes is for you to see. The remarkable thing is that Ms. Sparkle appears not to be missed at all, no one knocks on her door to check in on her, and she appears to have no friends. Her life really was on stage. The movie has beautiful cinematography and a unique voice--I hated the gore, but I did not hate the movie at all. It has several Oscar nominations, and while Best Movie seems a stretch to me, the other nominations seem at least defendable.

The Wild Robot (2024)

Happy Valentine's Day! In a world full of turmoil, this is a quiet place to spend the holiday. This is not my favorite amongst the nominate Animated Feature films for this year's Academy Awards, but it is my second favorite. The two share lush animation that outshines the story line (my favorite is Flow and the story is one that the reader imposes on it since there is no dialogue at all) and I would highly recommend watching it when you need an injection of calm into your week. These days, that feeling is hard to come by, of course, so perhaps watch it more than once. The titular robot here is Rozzum Unit 7134, assumedly a Silicon Valley invention, if Silicon Valley tried to update the Jetsons’ household assistant, whose delivery is foiled by a typhoon. Instead, she washes ashore on a remote Pacific north-west-esque isle. The robot, convincingly voiced by Lupita Nyong’o, has the flat affect of Amazon’s Alexa and the purely task-oriented mindset of programming, plus enough of a hint of confused yearning to immediately root for her. Roz is greeted with understandable suspicion by the furry inhabitants of the island. Roz neither looks nor thinks like a living thing. Her logic is pure binary – execute task, then return to manufacturer. Devoid of a clear purpose and thwarted in her return by the natural world’s chaos, she stumbles into the possession and care of something she does not understand: a lone goose egg, the rest of the family crushed beneath her. Raising the gosling up becomes her raison d'être and the audience comes along for that ride. Sweet and lovely, even with the sub-text that robots could take over most tasks currently accomplished by man.