Welcome to Part Two of our countdown of the greatest Best Picture winners of all time! In Part One, we delved into the assorted range of films that have won this coveted prize through the 95 years of Oscar. Measuring impact, enduring legacy, and overall quality of films, the first portion of the list revealed how some of Hollywood’s earliest ventures struggle to hold up all these years later.
In Part Two, we continue our journey through the annals of Oscar history to celebrate the classics that have captivated audiences and stood the test of time. From timeless films to groundbreaking works of art, these movies have left an indelible mark on the cinematic landscape. Part Two of the discussion highlights a recurring theme: the prevalence of good movies surpassing truly great ones. While there are certainly understandable and commendable winners, the list also sheds light on the Academy’s glaring omissions, where deserving films each year were overlooked.
So, grab your popcorn, settle into your seats, and join us as we unveil the next set of Best Picture winners that have taken their place among the titleholders.
75. A Man for All Seasons (1966)
Summary: Like Gandhi and Chariots of Fire, A Man For All Seasons is another British history lesson. A tale of political corruption, the film stars Paul Scofield as Sir Thomas Moore who goes up against Robert Shaw as King Henry VIII. The former would win the Oscar for Best Actor. One could argue I am underrating Fred Zinneman’s film a bit here. Costume dramas have long been a tough watch for me – often buttoned up too tightly with overstuffed pageantry and an exhausting air of elitism – and it feels like more of the same with A Man for All Seasons.
What it beat: Alfie, The Russians Are Coming The Russians Are Coming, The Sand Pebbles, Who’s Afraid of Virginia Woolf?
Hindsight’s a bitch: While the performances in Who’s Afraid of Virginia Woolf? make it a fine choice for the best film of 1966, Sergio Leone’s western magnum opus, The Good, the Bad and the Ugly, is the film that will likely be celebrated longest.
74. Nomadland (2020)
Summary: Frances McDormand stars as Fern, a woman living in her van after her husband’s death and a recession hits her town hard. Joshua James Richards’ masterful cinematography shines in this intimate film, which transcends the portrayal of the bleak nomad lifestyle and instead delves into a captivating character study. Through the lens of a free-spirited woman searching for her rightful place in a world that seems to have discarded her, the film gracefully captures her resilience and inner journey.
What it beat: The Father, Judas and the Black Messiah, Mank, Minari, Promising Young Woman, Sound of Metal, The Trial of the Chicago 7
Hindsight’s a bitch: At the time, I named Lee Isaac Chung’s Minari the best of 2020, which will always be remembered as the year of Covid. Since then, the two movies that seem to have hung around my mind the most are Judas and the Black Messiah and Sound of Metal. Take your pick among those three in what was a slightly below average year for film, during the peak of Covid-19 uncertainty.
73. Braveheart (1995)
Summary: Braveheart, Mel Gibson’s tale of William Wallace – a 13th century warrior who united Scotland against the British for their independence – is a huge film with incredible action sequences, an emotional love story, and a few technical wonders. It’s a violent spectacle that hasn’t held up well with historians and critics alike and is often confused as a vanity project for Gibson.
What it beat: Apollo 13, Babe, The Postman, Sense and Sensibility
Hindsight’s a bitch: I might be in the minority that still thinks Braveheart was the best film of those five nominees. I understand the historical inaccuracies and the Mel Gibson factor, but Braveheart remains a thrilling and entertaining epic for me. How the Academy missed on Michael Mann’s Heat, however, is beyond me. One of the great crime dramas ever made, Heat gave us an incredible ensemble where each character is given depth and complexity that aid in the high-octane intensity of the onscreen narrative. Heat is a gritty and meticulous cat-and-mouse thriller that continues to find a new audience. This should have been an easy choice.
72. Wings (1927)
Summary: The first Best Picture winner was also the only silent film to win the award until The Artist won 84 years later. Full of innovative flying scenes, dogfights, strung-out love triangles, and set against the backdrop of World War I, Wings still holds up well nearly a century later. The film rocketed “It-Girl” Clara Bow into household name status and helped lift Gary Cooper’s career off the ground.
What it beat: The Racket, 7th Heaven
Hindsight’s a bitch: Wings was a fine choice to represent the very first Academy Awards. Interestingly, the Academy sidestepped one of the most influential films ever made, The Jazz Singer. The first “talkie” did receive an honorary award for its pioneering, but – as depicted in Singin’ in the Rain years later – there was probably still a lot of hesitation around the advent of sound in films.
71. The King’s Speech (2010)
Summary: Tom Hooper’s winner is an inspirational true story about how a speech therapist, Lionel Logue (Geoffrey Rush), helped England’s King George VI (Colin Firth) overcome a lifelong speech impediment. This is another Weinstein victory, as we will see happen several times throughout the countdown when the film most remembered loses out to a safe, traditional replacement. Still, not a bad winner. With impeccable period detail accompanied by a few great performances, The King’s Speech is a crowd-friendly, uncomplicated film with a big heart. Nothing wrong with that.
What it beat: Black Swan, The Fighter, Inception, The Kids Are All Right, 127 Hours, The Social Network, Toy Story 3, True Grit, Winter’s Bone
Hindsight’s a bitch: The King Speech is another respectable choice by the Academy, though not one I agree with. Several films from 2010 would rank ahead of the Best Picture winner on my own list. I would be between Inception – Christopher Nolan’s time bending adventure – and The Social Network – David Fincher’s masterpiece, with the latter being the era’s zeitgeistiest film.
70. Rain Man (1988)
Summary: Featuring my personal favorite Tom Cruise performance, Rain Man is a delightful and sentimental film about two brothers reconnecting and reconciling. Dustin Hoffman gives an all-time virtuoso portrayal as an autistic man who learns to count cards, recollect his past, and discover that Kmart sucks on a road trip with his estranged and materialistic brother.
What it beat: The Accidental Tourist, Dangerous Liaisons, Mississippi Burning, Working Girl
Hindsight’s a bitch: The 1988 Oscars were the first that I remember watching, so Rain Man will always be a sentimental favorite of mine. Some other strong choices from 1988 include Bull Durham, Die Hard, and Big, but none of those seem up the Academy’s aisle (at least at that time). Rain Man is a moving and lighthearted buddy film with two outstanding performances from Dustin Hoffman and Tom Cruise. Their onscreen chemistry and the heartfelt, transformative journey they take together helps Rain Man hold up to this day.
69. Argo (2012)
Summary: Argo was simply a good, old-fashion style of studio filmmaking that, like Braveheart, took plenty of liberties with fact and fiction to make for a more entertaining homage to Hollywood. Lines of historic moments are blurred in Ben Affleck’s dramatization of the rescue of diplomats during the Tehran hostage crisis of 1979. But who’s complaining? Argo swept the awards season like few have before and is an extremely rewatchable movie.
What it beat: Amour, Beasts of the Southern Wild, Django Unchained, Les Misérables, Life of Pi, Lincoln, Silver Linings Playbook, Zero Dark Thirty
Hindsight’s a bitch: Another very strong year for movies, I can’t fault the Academy for their choice here. Steven Spielberg’s Lincoln or Kathryn Bigelow’s Zero Dark Thirty would each have made for exceptional winners. Paul Thomas Anderson’s The Master is regrettably missing from the nominees above, as is a genre favorite of mine from 2012: Rian Johnson’s imaginative and sensational Looper.
68. Terms of Endearment (1983)
Summary: Based on the Larry McMurtry book, Terms of Endearment is more than just the epitome of a tearjerker. It is an often-hilarious look at the love that prevails within a dysfunctional family. Shirley MacLaine and Debra Winger star as a mother and daughter who are consistently at odds with each other. Their polarizing relationship is amplified by the unstable men in their lives (Jack Nicholson, Jeff Daniels, John Lithgow) until the famously tragic plot twist changes everything.
What it beat: The Big Chill, The Dresser, The Right Stuff, Tender Mercies
Hindsight’s a bitch: Terms of Endearment is a good choice. You can’t fault Academy voters for how the film tugged at their heartstrings. My preference that year is The Right Stuff. With the same sense of dauntless grandeur that First Man would invoke 35 years later, The Right Stuff’s sheer magnitude, cinematic vision, and remarkable attention to detail would have been enough to secure my vote.
67. Shakespeare in Love (1998)
Summary: As it was often the case with Best Picture winners of the late 1990s through early 2010s, the grip that Harvey Weinstein had on the Academy is now clear and obvious. It was never more apparent than in 1998.
What it beat: Elizabeth, Life Is Beautiful, Saving Private Ryan, The Thin Red Line
Hindsight’s a bitch: There are some tremendous choices in the lineup, so I won’t overly nitpick the Academy’s decision to go with the sweet and whimsical love story. Shakespeare in love is funny and intelligent. But either of the two war films would have been much stronger choices. The fact that they were up against each other might have been what sealed their fate, as I still have a hard time deciding which one I prefer over the other. For the harrowing opening sequence on Omaha Beach, I’d suppose I’d have given it to Saving Private Ryan.
66. Gandhi (1982)
Summary: Richard Attenborough’s Gandhi is about as good a historical biopic as you will find, cemented by one of cinema’s all-time great performances by Ben Kingsley. And we all know how much the Academy loves their biopics.
What it beat: E.T. The Extra Terrestrial, Missing, Tootsie, The Verdict
Hindsight’s a bitch: I am a big fan of Richard Attenborough’s Gandhi, and an even bigger fan of Ben Kingsley’s performance as the Mahatma. But holy moly, what a year for science fiction! Perhaps no year better calls out the Academy’s past bias against the genre. First, you have an all-time great with E.T. losing Best Picture. But also wrap your head around two huge, classic sci-fi flicks that weren’t even nominated: Ridley Scott’s Blade Runner and John Carpenter’s The Thing. It would have been a great year to recognize the genre and to celebrate one of Hollywood’s brightest stars, Steven Spielberg.
65. Million Dollar Baby (2004)
Summary: Clint Eastwood’s second Best Picture winner is a far more melancholy film than the movies he made earlier in his career. What starts off as a typical, underdog boxing narrative quickly takes a left turn into something entirely different. It’s an authentically earnest film about desperate and failed characters looking for humanity and salvation from each other, both inside and out of the ring.
What it beat: The Aviator, Finding Neverland, Ray, Sideways
Hindsight’s a bitch: I have no qualms with Million Dollar Baby winning Best Picture. As much as I enjoy Sideways, I think Clint Eastwood’s boxing flick is the best of the nominees. Here’s where I probably have a differing opinion than 99% of you: Mel Gibson’s The Passion of the Christ was the best movie of 2004. I’m sure I’ll take heat for saying this, but Gibson’s film inspired intense debates and stands out for its remarkable artistic and technical achievements. While the scenes we are witnessing are graphic and difficult to watch, there’s no denying the immersive experience that Passion brought to the screen. It’s as valid and visceral as any biblical story that’s ever been captured on film. Say what you will about Gibson as a person, I make no defense for the things he has said and done, but it’s hard for me to deny the outstanding filmmaker he became. Still with me?
64. Ordinary People (1980)
Summary: Robert Redford’s Ordinary People is a restrained yet powerful film about how grief is handled differently by members of a family who experience an unimaginable tragedy. What makes Ordinary People special is how it treats mental illness and depression with sincerity and relatability. Donald Sutherland, Timothy Hutton, Mary Tyler Moore, and Judd Hirsch all give extraordinary and moving performances.
What it beat: Coal Miner’s Daughter, The Elephant Man, Raging Bull, Tess
Hindsight’s a bitch: Ordinary People is a fine choice for Best Picture in most years. The problem with giving it the prize in 1980 is that Martin Scorsese’s masterpiece – Raging Bull – was right there. Raging Bull not only should have won, but if it did, it would have been in the top 10 on this list.
63. Mrs. Miniver (1942)
Summary: William Wyler’s Mrs. Miniver – set during the second World War – is the first Best Picture winner to be about the global tragedy. Greer Garson and Walter Pidgeon star as a middle-class English couple raising their family at the outset of the conflict, one of the few films to be about a war that was still going on at the time. Because of this (and due to some timely rewrites that seemed intent on increasing American support for the war) the film is regarded by some as light propaganda. It’s another sentimental – yet wholly effective – family drama.
What it beat: The Invaders, Kings Row, The Magnificent Ambersons, The Pied Piper, The Pride of the Yankees, Random Harvest, The Talk of the Town, Wake Island, Yankee Doodle Dandy
Hindsight’s a bitch: Who doesn’t love Mrs. Miniver? The film gets bonus points with me for having Teresa Wright in its cast. IYKYK. Mrs. Miniver is another fine choice that’s hard to argue with. My vote would have gone to Michael Curtiz’s biopic, Yankee Doodle Dandy, starring James Cagney in a career-best performance as musical composer, playwright, actor, dancer, and singer George M. Cohan.
62. Hamlet (1948)
Summary: Hamlet sometimes feels like it won for its iconic Laurence Olivier performance more than anything else. The film lacks any kind of ingenuity or identity beyond the merits of Olivier’s accomplishments. However, many still consider this to be the categorical Hamlet.
What it beat: Johnny Belinda, The Red Shoes, The Snake Pit, The Treasure of the Sierra Madre
Hindsight’s a bitch: Laurence Olivier’s Hamlet might be the greatest Shakespearean adaptation ever made and is another good choice on the list of Best Picture winners. Like many others on this list, there is just a better option out there. John Huston’s Treasure of the Sierra Madre delivered legendary actor Humphrey Bogart’s greatest performance. The tale of greed and ambition still resonates today as a terrific film.
61. Gentleman’s Agreement (1947)
Summary: Gregory Peck stars as a journalist who pretends to be Jewish to investigate anti-Semitism in Elia Kazan’s Gentleman’s Agreement. The film was a bit groundbreaking for its time by tackling social issues of racism, even if “message” films often win Best Picture nowadays. The façade adds to a narrative that is both complex and intelligent, and it is a well-meaning film with a big heart even if it comes off a bit puffed up and self-congratulatory today.
What it beat: The Bishop’s Wife, Crossfire, Great Expectations, Miracle on 34th Street
Hindsight’s a bitch: The Academy got it right.
60. Grand Hotel (1931/1932)
Summary: One of the first star-studded episodic dramas to win Best Picture, Grand Hotel is headlined by silver screen legends Greta Garbo and John Barrymore. The adaptation of the Broadway hit remains the only film to win Best Picture without a single other nomination. That’s a distinction that will probably never be duplicated.
What it beat: Arrowsmith, Bad Girl, The Champ, Five Star Final, One Hour with You, Shanghai Express, The Smiling Lieutenant
Hindsight’s a bitch: The Academy got it right.
59. Kramer vs Kramer (1979)
Summary: Meryl Streep and Dustin Hoffman are extraordinary in this timely tale of marital divorce and the problematic battles of child custody. The Baby Boomer generation was the first to really experience the cultural movements widespread divorce and reversal of gender roles in the nuclear family.
What it beat: All That Jazz, Apocalypse Now, Breaking Away, Norma Rae
Hindsight’s a bitch: This is a very similar situation to 1980’s Ordinary People beating Raging Bull in the sense that if Apocalypse Now had won, Francis Ford Coppola’s film would have been in my top ten of this list. Kramer vs Kramer is a really good movie, though.
58. How Green Was My Valley (1941)
Summary: John Ford’s view of the working-class man over the passage of time is nostalgic and convincing. Core values, faith in God, and the importance of doing a good job well are at the center of this dreary and determined drama.
What it beat: Blossoms in the Dust, Citizen Kane, Here Comes Mr. Jordan, Hold Back the Dawn, The Little Foxes, The Maltese Falcon, One Foot in Heaven, Sergeant York, Suspicion
Hindsight’s a bitch: Man, what an incredible year for movies! The list of nominees doesn’t even include two Barbara Stanwyck romantic comedies – Ball of Fire and The Lady Eve – nor Sullivan’s Travels, all top-notch films at their time. As is the theme of Part Two, the winner, while good, beat out one (or in this case several) great films. How Green Was My Valley might best be remembered as the film that beat Citizen Kane, who many argue to be the greatest film ever made. Had Kane won, it might have topped this list. The Maltese Falcon is another enduring showpiece that would have landed much higher on this list, had it won. In their place is John Ford’s melodramatic tale of a coal-mining family, that while fine in its merits of sweeping cinematography, rich storytelling, and emotional depth, is a tad overly sentimental.
57. All the King’s Men (1949)
Summary: Broderick Crawford stars as Willie Stark, a corrupt Southern politician who rises to the top by selling lies in the slick and powerful All The King’s Men. The character of Stark was based on real-life Louisiana governor and U.S. Senator Huey Long, though we might recognize traits of Stark in more modern-day politicians as well. The point is the song remains the same 75 years later. It’s a fascinating study on the type of firebrands that dominate politics.
What it beat: Battleground, The Heiress, A Letter to Three Wives, Twelve O’Clock High
Hindsight’s a bitch: All the King’s Men is the best of the nominees, but Carol Reed’s The Third Man is one of my personal favorite movies ever made, and the preeminent film noir of all time. How it managed to miss the nomination with a cast that includes Orson Welles, Joseph Cotten, and Valli – along with one of the greatest screenplays ever written (Graham Greene) – is beyond me.
56. Chicago (2002)
Summary: One of the most fun movies to ever win Best Picture, Rob Marshall’s Chicago delivers all the goods. Renée Zellweger and Catherine Zeta-Jones are incredible as the murderous. pair imprisoned for their wrongdoings. Bob Fosse’s indelible sing-along musical numbers, stunning choreography, and wonderful satire on celebrity and our justice system helped make Chicago the first musical Best Picture winner since 1968’s Oliver, and the only one to do so since.
What it beat: Gangs of New York, The Hours, The Lord of the Rings: The Two Towers, The Pianist
Hindsight’s a bitch: This is a tricky year. The Academy was never going to give Best Picture to the middle installment of The Lord of the Rings, so Chicago is a perfectly fine choice. I am a big fan of Rob Marshall’s musical, even if it does seem hard to say that it is the better film to Roman Polanski’s The Pianist.
55. My Fair Lady (1964)
Summary: Speaking of musicals, George Cukor’s My Fair Lady remains one of the greatest ever made. It is one of four musicals to win Best Picture in the 1960s. Audrey Hepburn is terrific, and Rex Harrison is incomparable. Adapted from the 1956 stage musical, it’s a “loverly” film.
What it beat: Beckett, Dr. Strangelove: Or How I Learned to Stop Worrying and Love the Bomb, Mary Poppins, Zorba the Greek
Hindsight’s a bitch: Like Chicago, My Fair Lady is a good choice. While the film doesn’t seem to be holding up well with younger generations, it’s hard to hate on Rex Harrison and Audrey Hepburn’s charming performances, Harry Stradling’s gorgeous cinematography, Cecil Beaton’s incredible costume design, and Gene Allen, Cecil Beaton, and George James Hopkins’ outstanding art direction. I would vote in favor of Stanley Kubrick’s Dr. Strangelove, my #1 comedy of all-time.
54. Mutiny on the Bounty (1935)
Summary: Frank Lloyd’s Mutiny on the Bounty stars Clark Gable as first mate Fletcher Christian and Charles Laughton as the contemptible Captain William Bligh. The film was a huge hit at the box office, and was heavy on action, mysterious settings, clashing drama, and high-seas adventure. This is the first (and best) of several adaptations of the 1932 novel, and the first (and only) time that three actors for the same film were nominated for Best Actor. All three lost to Victor McLaglen (The Informer), and the very next year the Supporting Actor/Actress categories were installed.
What it beat: Alice Adams, Broadway Melody of 1936, Captain Blood, David Copperfield, The Informer, Les Misérables, The Lives of a Bengal Lancer, A Midsummer Night’s Dream, Naughty Marietta, Ruggles of the Red Gap, Top Hat
Hindsight’s a bitch: Literary adaptations were the theme of 1935. With variations of Charles Dickens, Victor Hugo, and William Shakespeare among the nominees, the Best Picture prize went to a film based on a 1932 novel by Charles Nordhoff and James Norman Hall. I agree with the Academy’s choice here, with Fred Astaire’s best film, Top Hat, being a close runner-up.
53. The Shape of Water (2017)
Summary: Guillermo del Toro’s passion project is more than just a strange and quirky love story between a shy, mute girl and a merman. His avant-garde fairytale also pays homage to the early days of Hollywood, the Cold War, a shared loneliness, and the boundaries society often sets on romance. The meticulous craftsmanship is to be expected in any del Toro film and only adds to the magic spell he puts us under.
What it beat: Call Me By Your Name, Darkest Hour, Dunkirk, Get Out, Lady Bird, Phantom Thread, The Post, Three Billboards Outside of Ebbing, Missouri
Hindsight’s a bitch: The Academy got this right, and I am still kind of surprised by it. A romantic fairytale fantasy film beating out historical dramas (Darkest Hour and Dunkirk), quirky coming-of-age comedies (Lady Bird), and typical Oscar drama (Three Billboards)? Who’d have thought? The Shape of Water winning shows how far the Academy has come on sci-fi/fantasy films in the 21st century.
52. Everything Everywhere All at Once (2022)
Summary: Our most recent winner is the most atypical and inventive film to win Oscars’ greatest prize in the 95-year history of the Academy Awards. Just about every aspect of the stirring film broke barriers in one way or another. From butt plugs to hot dog fingers to a mostly Asian cast, EEAAO is just a really cool and inspired choice. That alone is worth celebrating.
What it beat: All Quiet on the Western Front, Avatar: The Way of Water, The Banshees of Inisherin, Elvis, The Fabelmans, Tár, Top Gun: Maverick, Triangle of Sadness, Women Talking
Hindsight’s a bitch: Speaking of sci-fi films winning, Everything Everywhere All at Once might have been considered a bizarre choice a couple decade ago. The Academy certainly has diverged from its early days, mostly for the better. While I very slightly preferred All Quiet on the Western Front, EEAAO is a tremendous winner.
51. The Lost Weekend (1945)
Summary: A somber and honest look at the effects of alcoholism, Ray Milland gives a noteworthy performance as a failed, postwar writer who locks himself in his apartment to try to kick the habit. Billy Wilder shows why he is one of the all-time great directors and screenwriters with one intense and desperate moment after the next. Filled with acerbic and biting dialogue, Wilder and co-writer Charles Brackett’s script is among the best of its time.
What it beat: Anchors Aweigh, The Bells of St. Mary’s, Mildred Pierce, Spellbound
Hindsight’s a bitch: What an incredible year for film noir! Along with Mildred Pierce and Spellbound, To Have and Have Not (my favorite film of the year) makes for an excellent trio in the genre. Billy Wilder’s Lost Weekend is yet another fine choice that is hard to complain about.
That wraps up Part Two in the series, which highlights the intriguing notion that sometimes good films have the power to surpass great films. This is oftentimes dependent of the era (or zeitgeist). As we delve deeper into the rankings of Best Picture winners, we are reminded that cinematic excellence goes beyond technical achievement and critical acclaim. It ultimately lies in the connection forged between the film and its audience, making even good films truly triumphant in their own right.
Get ready for an exciting week ahead as we crack the top 50 Best Picture winners down to 26th!
89 Comments
Hmm. No disrespect coming from me, we all have our biases, but it’s becoming clear what Mark Johnson’s are. He seems to always prefer the more “masculine” and “important” film rather than one that appeals to one’s emotions or “feminine” choice. This isn’t true every year, of course, but it’s the trend. Or maybe he prefers the more “canonical” film, the one where critical census has had a chance to drown out the minority opinion. I’m not dismissing his opinion, of course, just taking notes. His opinion is probably more widely accepted than mine would be, as my bias would almost slide to the underdog film. Oh well. It’s fun to disagree, if we were all the same, Nickelback would be considered the world’s greatest band.
The better options…
I’ve already stated how I think Babe deserved the win. Here’s why. It’s magical, thoughtful and compassionate. It’s a wonderful family film. Now I’m not the family film type at all, and this one would be my only BP winner in all of Oscar history. It’s just that good!
I would pick Working Girl! It’s the only film of the lot I’ve watched multiple times and each time it surprises me with how good it is. I guess I am a sucker for Mike Nichols. It’s not just a “feminist” movie or a rom-com, or an underdog movie. There’s really not a weak scene in it, its plot is complicated for its genre, it’s filled with wonderful supporting performances, and it’s funny. It recalls the great screwball comedies of the 1940’s yet it’s extremely contemporary. There are few films like it that are this entertaining, It deserves the win, especially for a year with such weak options. (On a sidenote, it’s been shown that a dingo did eat her baby, which is made clear in the movie if you closely examine Streep’s choices. Cry in the Dark is the kind of movie I would immediately hate if it came out today, it being from the ripped from the headlines genre. But it came out in 1988 and was easily the best film of that year.)
Zero Dark Thirty is impeccable. Argo is not. I think this is obvious and inarguable.
Roger Ebert pointed out that none of life’s big events are present in Tender Mercies, the film instead picks the moments that are the most significant emotionally. It’s hard for me to go against Terms, but, damn, Tender Mercies made me cry real tears.
Shakespeare is that rare literate, adult, romantic comedy that always gets overlooked. Sadly, it should have in favor of The Thin Red Line, the best war film ever made. (I was recently shocked to learn that this film is based on the second book of a trilogy, with From Here to Eternity being the first). —- On a side note. I challenge everyone to give themselves a double feature. On a rainy Saturday watch Jurassic Park and then Saving Private Ryan. If you do, the similarities become screamingly obvious. When I saw how close they were that’s when my love of Spielberg died, that’s when I realized he’s pretty much a one trick pony, although it’s a crazy good trick.
Missing is better than Ghandi. Jack Lemmon is probably the most overlooked actor in Hollywood history. Sophie’s Choice is better than either. It’s one of the two best two Holocaust films in existence simply because it chooses to follow one person over time rather than focus on the actual event to show that the Holocaust was a far more devastating historical event than you can gleam from the statistics. And it has the best performance on film. (we will get to the other great Holocaust film much later, probably when Mark gets to his top ten. Bonus points if you can guess what film I am thinking of!)
Ordinary People is better than Raging Bull. Mary Tyler Moore is phenomenal as one of the most complicated women ever to appear in a film. (I just watched this recently for the umpteenth time).
Kramer V Kramer has a special place in my heart in that it was the first “adult” film that I truly enjoyed. But then I saw Breaking Away the night before the Oscar Telecast. It took me years to understand Breaking Away’s brilliance. It took me even longer to understand All that Jazz’s Brilliance.
I appreciate your insight on the rankings. Would be curious to hear your thoughts at the end as well.
I was never a big fan of Babe. I think my age at the time (18) put a permanent bias against it. I wish I had an urge to rewatch it, I am sure it is better than I give it credit for.
i hear you on the being 18 thing. I am sure my opinion of ET would be different had i not been 15 when I first saw it. By then I was pretty darn pretentious for a teen!
As good as Babe is, I think Babe 2 might be better. It’s certainly less family-friendly and even has an effective Holocaust metaphor. I haven’t seen it since I saw it in the theater (where I heard a kid crying during said Holocaust metaphor “mom, I don’t like this movie.” Mother: I don’t like it either. I think Roger Ebert picked it as his fave movie of the year (or ranked it highly) maybe that may make it worth investigating.
Had time to look over all of the BP winners. Shocking how little I think of the lot of them. Heck, even the nominees are more disappointing than not.
But then of course the Academy doesn’t recognize gay films that are made for gay audiences, so it’s not surprise.
Here are my list of BP winners that are actually great films…
Moonlight
12 Years a Slave
The Hurt Locker
The Silence of the Lambs
The Last Emperor
Chariots of Fire
Ordinary People
The Apartment
From Here to Eternity
Casablanca
To be on the list, you had to be the best of the year. The exception is Moonlight – I think Manchester by the Sea is better by a small margin – But Moonlight is probably the 2nd or 3rd best film on this list. The Godfather almost made the list, but Cabaret is clearly the better film in my opinion. Heck Cabaret is better than any BP winner ever.
Best gay films the academy has ignored.
Priest
Longtime Companion
Yossi & Jagger
Weekend
God’s Own Country
Pretty Sure “Of an Age” will be on this list at years end.
1. Babe was a HUGE swing that succeeded on every level. Maybe the well known hostility between George Miller and Chris Noonan is what kept it from crossing the finish line.
2. Working Girl is proof that when Nichols was on point, he was untouchable.
3. The Argo/”Poor Ben” campaign was one of the most cynical campaign ploys I’ve ever seen.
4. Missing is brilliant, but the Academy was starting to roll into its overly Reagan conservative phase, and the politics of the film just wasn’t going to fly with that crew.
5. Raging Bull and Ordinary People is so apples to oranges it’s hard to say which film was better. Like them both
6. BREAKING AWAY! Had family who went to IU, Bloomington is such a lovely place. And All that Jazz is the greatest coke film ever, you could just feel it coursing through the film’s veins.
thanks! It’s fun to have actual conversation and the exchange of ideas!
As for Scorsese in general. It’s hard for me to complain about him. Like Spielberg I can see his appeal. But I just find his films to be bloated and overlong. But more than that, it’s hard for me to get into the “repressed male emotion” genre that he’s the king of. Too often his films are seen as universal, but I think they are only semi-universal, it’s just that the other half’s voices have never been heard.
Look at film noir, a whole genre of movies whose primary attribute is that the women act like men. Wouldn’t it be great if there was a genre of film whose primary attribute is that men act like women? What would that even look like? Ordinary People? Maybe, I don’t know. I just consider Ordinary People to be human. It’s wonderful how the three leads refuse to succumb to the gender roles of the time.
But all of that is explored in the fascinatingly weird Johnny/Mundson/Gilda triangle in Gilda, isn’t it? Film Noir was daring on so many levels.
I don’t watch that many older movies so my knowledge is pretty thin. Movies like Laura and such have always been on my list, but never at the top!
Laura is excellent, but Gilda is amazing — it simply overperforms for what it was supposed to be.
Part of what makes film noir so much fun is that traditional gender stereotypes (of the era) are often subverted for fun and surprising effect. Richard Widmark’s baby-faced giggling killer in Kiss of Death, and Margaret Wycherley’s unforgettable “Ma” Jarrett in White Heat, are one of the many against-type performances that shine in this genre.
Raging Bull is a tough one for sure, but the technical bravado is off the chain great. I think this notion that all of his films are akin to David Lean over the topness has no basis in reality. And dammit, Silence was his masterpiece even if people still don’t get it.
Ordinary People wouldn’t have worked at all if Sutherland didn’t give such a sneaky good performance. As great as Moore and Hutton were, there was to my eyes a lot of “acting” with their roles. Sutherland’s humanity was quite lived in which is why the payoff works as great as it does. Redford’s compositional sense bores me to tears though.
Isn’t it nice to talk alternative Oscars the way it’s supposed to go without the omnibus political theories that have made things kind of a slog.
It’s hard to believe Sutherland was never nominated for an Oscar.
I’m not such an expert on composition. In fact, I really know very little about it on a technical level. As you probably have guessed, I am deeply rooted in the literary world and character and story structure. I am also into efficiency more and more these days, I like my films to the point, I don’t need five minutes of a scene when one minute will do. I also prefer a fairly static camera, unless there is a long take, I don’t ask for much camera movement. If i notice it moving, it’s probably too much.
The technical aspect of film can greatly enhance character and story if done correctly. Plus it helps make film dynamic. If everything is too flat and static, then you have a play and not a movie.
Plays will always be more dynamic than movies. There is a reason people pay 100+ bucks a ticket to see a Broadway show.
But otherwise I get your point and agree, I just don’t have the language to discuss such stuff intelligently.
I do agree that sometimes it’s a bit much if the camera is flying all over the place or the director is merely imitating their influences insted of incorporating them.
The beauty of movies, like any other robust art form, is that all kinds of different types of movies can get made. There’s always a place in the sandbox for a movie fan. The thing that has depressed me so much about all the tedious culture wars about movies and Oscars is this belief that if a person doesn’t like a certain type of movie, such a movie should never be made let alone given awards. It’s stupid and reductive, but every year this and that movie becomes “this is the death of Oscar and cinema” as people overly internalize all of it.
I enjoy SO much just going back and forth about movies I love, and hearing about movies other people love.
I laugh at people saying such things as “This will ruin the Oscars” or “This movie saved cinema” as if ONE FUCKING MOVIE could have that much influence on a century old industry/tradition.
Trust me, as long as The Western Half of Salt Lake City (You Know, The Mormon Half) Critics Association is giving out awards, the industry will never die.
Babe was certainly the best film of 1995. I went to see it after the BP nod (I was twenty-three), and the theatre was mostly filled with adults. We were all enchanted by it.
It was a big crossover hit. I remember seeing it around my 7th birthday. I grew up not far from the town it was shot in, knew some people who were extras. At the time it was one of the biggest films ever at the Australian box office, and today it remains the second biggest local hit adjusted for inflation (Crocodile Dundee still well in front).
For me the standout films that year were Se7en, Cyclo, Whisper of the Heart and Heat. The nominees were all solid picks though, and as a millennial I grew up watching Braveheart, Babe and Apollo 13 countless times. I agree with Mark in that Braveheart is my favourite of that bunch (although Babe would’ve been a welcome unique win as well). Heat to me is a grower, took a few viewings for me to really rate it highly, and I guess a film in that genre lane has to be more immediate to land in Picture.
I’m happy that a lot of people still enjoy Braveheart, but it was not a film for me. I would have been much happier at the time had that much love been lavished on Rob Roy, which I enjoyed much more.
I was raised on both, they were among the handful of 90s films my parents loved passionately (also see Last of the Mohicans, The English Patient, Dances With Wolves, Black Robe and Legends of the Fall; all a certain type of picture).
RE: A Cry in the Dark. I’m always puzzled how people are so confident Close was robbed that year. It is Streep who was robbed. This is an absolutely mesmerising performance.
And this is why I refuse to watch The Iron Lady. That win is like getting nothing but underwear and gift cards for Christmas.
Well, I have no issue with this win for a single reason. The person who lost for Silkwood, A Cry in the Dark, Adaptation, The Devil Wears Prada, and The Bridges of Madison Country deserves to have at least four Oscars. They still owe her.
Oh I agree. I’m glad she won, I just don’t want to see it. I think all it will do is make me angry she didn’t win for something better.
The Streep movie that always gets overlooked in my opinion is Plenty. It took me a couple of viewings to understand what was going on (I was pretty dumb about history) but the movie and her performance really struck me. It got lost in the shuffle because of Out of Africa came out in the same year, but it’s the better of the two movies. I wish it were more widely seen (and well-known)
I haven’t seen it, but it happened often with her in the past. After all, Manhattan — she delivered a far more fascinating performance than the actress who got nominated instead. But she had Kramer vs. Kramer that same year and she couldn’t get two nods. (Manhattan is one of her early performance that are absolutely wonderful. This is also the one role in which she’s incredibly gorgeous. A true femme fatale.)
I haven’t seen it, but it happened often with her in the past. After all, Manhattan — she delivered a far more fascinating performance than the actress who got nominated instead. But she had Kramer vs. Kramer that same year and she couldn’t get two nods. (Manhattan is one of her early performance that are absolutely wonderful. This is also the one role in which she’s incredibly gorgeous. A true femme fatale.)
EEAAO will always suck and A24 with it.
Adaptation was the best film of 2002; should have been one of the easiest wins ever.
I still don’t get what anyone sees in Shape of Water.
Shape of Water is gorgeously made. It reminded me of a Jeunet film in many respects, and Jenkins and Spencer were quite good in it. Not sure how it pulled off the win other than residual anger about Weinstein reminding older voters how Del Toro was basically blacklisted by Harvey because of Mimic.
I LOVE Adaptation as well. Would have been a great winner.
Who doesn’t love Mrs. Miniver? Me! The Magnificent Ambersons was RIGHT THERE.
Ambersons would have been a great choice had Welles not lost control of the final cut.
Even with the form with which we’re left, however, Ambersons is a ground-breaking film with a stunning Agnes Moorhead performance. It’s so much better than the book, as well, which does a deep dive into weirdville at the end. Yes, Citizen Kane and all that, but for me Ambersons is Welles’ loveliest film. I couldn’t look away when I first saw it as a kid on late-night TV, and it’s just as mesmerizing (and relevant!) as it was then.
Yay for Muskingum University alum Agnes Moorehead!
Very much enjoining this series. Thanks
Thank you very much! Glad you are enjoying it.
Grand Hotel deserves to be much higher on this list; it hasn’t aged particularly well, but few other films of its era (and after) have been so tremendously influential.
Am I misremembering Mark saying on the podcast that Everything Everywhere All at Once was his second-favorite film of 2022? If I’m not, I’m really surprised by how closely their tastes seem to align with the Academy’s, if a film they held in such relatively high esteem among the films of its year doesn’t even crack the list of the top 50 best picture winners. I just counted how many best picture winners I would have named the best or second-best films of their years and the amounts I came up with were 4 (Casablanca, The Apartment, The Lord of the Rings: The Return of the King and Moonlight) and 5 (Sunrise, The Godfather, The Godfather Part II, Annie Hall and Amadeus) respectively, and especially for Casablanca and Sunrise, these are based on somewhat small samples and thus they could drop as I see more stuff (even if both of them are absolute masterpieces).
I’d also argue that Terms of Endearment, Shakespeare in Love, Ordinary People and How Green Was My Valley are ranked shockingly low
You are correct. EEAAO was my second favorite film of 2022.
After reading your comment I was also thinking about how many Oscar winners in history are also at least in my Top 2 in their respective years (though I also have the same problem like you that I have seen not enough films especially in the 30s to rank the winners appropriately – for that reason I only include those early winners I have seen not too long ago with a rating at least 4,5 stars):
Mrs. Miniver, Casablanca, On the Waterfront, The Apartment, The Godfather Part II, One flew over the Cuckoo´s Nest, Annie Hall, The Deer Hunter, Amadeus, The Silence of the Lambs, Schindler´s List (even though haven´t seen in about 10-15 years), The English Patient (also haven´t seen in a long time), The King´s Speech, The Artist, Parasite. Looks like I had much more agreements in the past times, not so many in recent years…
(it´s a bit crazy but with this strong terms for example “The Godfather” is beaten by “Cabaret” and “Avanti!” and thus not included even though I consider it a masterpiece)
For me yearly top 2s going backwards (until 1948, beyond that I’ve typically seen <20 per year which feels too little a sample):
No Country for Old Men
Titanic
The Silence of the Lambs
Amadeus
The Deer Hunter
The Godfather Part II
The Godfather
The Apartment
On the Waterfront
(these happen to be my top 9 BPs)
Had a couple #3s in there as well (12YAS, Terms of Endearment, A Man For All Seasons, Lawrence of Arabia, All About Eve, Hamlet)
A yearly #2 failing to make my top 50 seems possible but statistically unlikely from my standpoint. My top 50 cutoff is about 8.25/10, and my worst #2s from the last few decades were about 8.75/10 at worst. No matter how thin the top end of a year is, there is usually still room for a few that are really special. I guess it depends on how the winners accumulate, if there are enough of them you really adore or dislike results might ultimately skew. Mark is obviously factoring in more criteria as well, so we are approaching the ranking a tad differently.
Re: Shape of Water
Can someone please explain that if the film is set in Baltimore, why would Sally Hawkins’ character need to wait for rain for the viaduct to fill up so she can release the creature?
The worst plot hole in a Best Picture winner ever.
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I think you are confusing Baltimore, Maryland with Baltimore, Chad.
The only Chad I know is Radwell.
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Thanks for another great part. Just please fix the (rather amusing) typo for Avatar: The SHAPE of Water.
On a personal note, I would have picked the criminally non-nominated Blade Runner 2049 as number 1. An unforgettable masterpiece that (At least in my book) surpasses it legendary predecessor.
“Just please fix the (rather amusing) typo for Avatar: The SHAPE of Water.”
As copyeditor/proofreader, all un-spotted typos are entirely my fault.
That said, I would definitely watch Avatar: The Shape of Water (NC-17)
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YES! You just made it even more amusing.
An NC-17 rated billion dollar budget Hollywood epic!
Haha! Whoops!
But I love the fact that 2049 kept with the tradition of its predecessor: it’s an amazing, thought-provoking film that didn’t receive a ton of love at the time of its release, but stays with you and will be sure to only grow in stature and impact as the years pass.
Guess that’s just the fate of Replicants…
Can’t argue with your point as it pops up in local cinematic conversations sometimes and each time I find more to love and cherish about it.
Man, 2049 was a big missed opportunity. Looked right. Had a good rhythm. Gosling was great. But the base mystery itself wasn’t that interesting and you could tell it wasn’t working with the number of times Robin Wright kept saying “if this gets out, everything will collapse”. Show us movie, don’t tell us.
That being said, the subplot with the hologram girlfriend was absolutely fascinating and was so in the spirit of the writings of PKD.
I’m not necessarily even that much in love with Blade Runner 2049 (I feel like there’s a faction of people who are obsessed with that movie, I merely think it’s good and as such clearly the best Denis Villeneuve film I’ve seen) but I don’t think the central mystery being a little unengaging is that much of a problem in terms of what I think the movie is eventually attempting to do.If the original Blade Runner takes a lot of care to deconstruct its villain character and by introducing a humanity to that character and the other replicants (especially as the hero might be one as well), I’d argue Blade Runner 2049 attempts to flip that concept on its head by deconstructing its hero until they. Thus, while I agree that the mystery itself wasn’t electrifying, I thought it functioned sufficiently well as a slightly generic mystery for a generic lead character that eventually crumbles and shifts from a mystery to a somewhat more engaging story as the lead character comes to grips with how they’ve narrativized their identity.
If you wait nearly 40 years for a sequel, come up with a better mystery than that. And what the holy hell was Leto doing and why did Villeneuve allow that to occur? What would have been cool although no way the studio would have allowed it was casting Bautista as a lead, he was a revelation in that short scene.
BTW, is everyone now pretending Arrival just didn’t exist when talking about Villeneuve?
Arrival is solid. Beyond that, what I’ve seen from Villeneuve (Prisoners, Enemy, Dune) are pretty bad
Incendies and Sicario are masterful, and even Maelstrom is a lot of fun.
2049 may have its detractors, but Arrival is criminally underrated even though it was a perfect interpretation of the story in many ways. I still think 2049 will be much more fondly remembered in the future — the visual effects were just as stunning as they were in the original movie. And let’s not forget that the original’s story was just a standard neo-noir: it was the astounding visual effects and production design that created such a killer mood in the film.
Good call on Heat in 1995.
Re: Passion of the Christ. Three things drove me berserk about that no matter how well it was made from a technical point of view. One, the film was told in an utter vacuum theologically. If you weren’t already a “believer” all you’re really getting is the Jesus Chainsaw Massacre. And it really has nothing to say about the man and his sacrifce (compare that to the more substantial Silence which the Gibson fundies avoided in droves).
Two, the marketing of the film as being “biblically accurate” was a boldfaced lie, considering how much of the script contained Anne Catherine Emmerich’s writings. And to say that some of her writing is problematic is an understatement. Of all the Christian mystics he chose to punch up his script, that’s who he chose?
Third, despite Gibson’s claim that he eliminated the Jewish “blood libel” from the final cut, that’s not actually true. Sure, he left it out of the subtitles, but the line was left in the film in Aramaic with no subtitle. How many people in the general audience caught that, who knows, but there it was, and Gibson lied about it.
Sorry for the long response, the degree to which some people have let Gibson off the hook for many things is slightly baffling
I totally get it. It is a polarizing film for sure. Thanks for the insight on the film and your shared love for Heat.
Heat is so freaking good on every level, even when you can see Pacino was still playing the part as a cocaine addict. Mann really saved that performance in editing.
I don’t mind any of these three problems, LOL!
You don’t mind that Gibson lied about anti-semitic tropes in his film?
Love this series Mark! I
Don’t always agree with your choices but love reading this, especially aww you’ve listed what the winners were up against each year. Looking forward to the next list!
I love this series, too, Mark. In fact, reading this interesting article is helping me get through the last three hours of this interminable school year. For that, I thank you very much!!
I like Chicago the best of the movies you put in this section. It’s one of the Best Pictures I am most likely to re-watch. (probably Casablanca, All About Eve, and The Godfather/Godfather, Part 2 are the others)
Thank you both, Lowey and Julie! I appreciate you reading hearing what films you’d rank higher/lower!
Julie – the schoolyear is almost done!!
there are some absolute top 20 here, way too low…
In your opinion…
Opinion is all that there is in any “best of” list.
Exactly, that’s my point.
Jesus – which ones would have made your top 20?
Quite surprised there’s not even an honorable mention to 1947 Tourneur’s masterpiece Out of the past, completely snubbed from the nominations.
As for 2002, it was a wonderful year for movies… and a terrible year for the BP lineup.
It’s just nuts seeing Adaptation, Talk to her, Far from heaven, Minority Report, Road to perdition, Catch me if you can or City of God out of it.
(I’d personally add Gerry, Russian ark and The man without a past, too)
Yossi & Jagger
Those are some seriously strong films to be out of the race. City of God, especially.
I had barely any issue with your 76-95, but some divergence starts to creep in here for me, with Hamlet at #62 and A Man for All Seasons at #75 feeling the most egregious. Maybe these don’t have enduring presence in America or are harder to take to as period costumey stagey dramas? Quality wise they are top echelon. I also have Terms of Endearment, Lost Weekend, Wings, Chicago, Mutiny on the Bounty and How Green is My Valley a lot higher personally but Hamlet and A Man for All Seasons feel like the most glaring classic snubs here, especially in failing to make top 60.
I’ve bolded the ones we share in this section and italicised those Mark already eliminated in 76-95.
#51 – Moonlight
#52 – Braveheart
#53 – An American in Paris
#54 – Million Dollar Baby
#55 – Rain Man
#56 – The Lord of the Rings: Return of the King
#57 – All the King’s Men
#58 – Midnight Cowboy
#59 – The King’s Speech
#60 – The Sting
#61 – A Beautiful Mind
#62 – You Can’t Take it With You
#63 – From Here to Eternity
#64 – My Fair Lady
#65 – Nomadland (best of the last six winners)
#66 – Grand Hotel
#67 – In the Heat of the Night
#68 – Gandhi
#69 – Slumdog Millionaire
#70 – The Life of Emile Zola
#71 – The French Connection
#72 – Driving Miss Daisy
#73 – The Artist
#74 – Green Book
#75 – Parasite
I think the Academy did a really good job in 2020, the 8 nominees were one of the better reflections of the year, which made up for the pandemic-addled constraints. I also don’t think they missed anything significant, to illustrate this my favourite eligible (theatrical-planned) feature that year which didn’t make BP was (surprisingly) The Kid Detective which I’ve put below in italics to demonstrate how I think they generally chose the best on offer.
10/10
Promising Young Woman
9/10
Mank
8/10
Sound of Metal
7.5/10
Judas and the Black Messiah
The Kid Detective
Nomadland
The Father
7/10
Minari
The Trial of the Chicago 7
There aren’t many other years in the expanded era which are that solid to me. If something like The Trial of the Chicago 7 is the clear runt nominee bringing up the rear, and yet it’s still rather good, you can’t complain.
Promising Young Woman is an overrated mess of a movie.
The Father was the best of the bunch closely followed by Sound of Metal.
Sound of Metal was the best of the year, Oscar-wise. I think without it, CODA couldn’t have won.
That Sound of Metal ending still sticks with me. One of my favorite last moments in any film.
I liked both Promising Young Woman and The Father. What are you most looking forward to this year, Sammy? I can’t wait to see Killers of the Flower Moon, Oppenheimer, and Maestro. I also plan to see Cannes winners Anatomy of a Fall and Zone of Interest at some point.
“What are you most looking forward to this year, Sammy?”
Alexander Payne’s The Holdovers.
Jonathan Glazer’s The Zone of Interest.
Jeff Nichols’ The Bikeriders.
Taika Waititi’s Next Goal Wins.
Gibson’s both films Passion and Apocalypto were amazing. Both of them were inexcusably ignored.
Apocalypto was pretty good, though not faultless. And it was nominated for three Academy Awards; I thought that was about the right touch for that movie.
Deserved more.
A little late to post, but these are my personal #75-51:
51. CODA
52. Spotlight
53. A Man for All Seasons
54. Ben-Hur
55. The King’s Speech
56. The Shape of Water
57. Gladiator
58. Nomadland
59. Kramer vs. Kramer
60. Grand Hotel
61. Tom Jones
62. The Best Years of Our Lives
63. Million Dollar Baby
64. Dances With Wolves
65. Argo
66. Slumdog Millionaire
67. Mutiny on the Bounty
68. From Here to Eternity
69. Rain Man
70. Ordinary People
71. A Beautiful Mind
72. Wings
73. Going My Way
74. Oliver!
75. Chariots of Fire
I’m still working on mine too! Hahaha!
Mark, this series is awesome! Thanks so much for taking the time to do this. Because I’m a dad to a toddler, it takes me a long time to get through, and even longer to respond, but I will! 😀
I appreciate that you are enjoying it, Jim! Thanks for reading.
SAME. I have a two and five year old and it has been on my mind to sit down and make my own list but every time I do….sidetracked.
Pingback: 95 Years of Oscars: Ranking the Best Picture Winners Part Three – #50-26 – Awardsdaily
Everything, Everywhere All At Once does deserve a much higher ranking despite it being the newest addition to this listing.
It’s a movie as mentioned, that beat against all odds to snatch the Best Picture of the Year. Also, not to forget, this is also a history making film that is the 3rd production (if I’m not mistaken)to bag all the top major awards in all key categories, that includes best actress, supporting actress & actor too.
And A24 studio, the company produces this epic film has just officially become the Very first studio in the 95 years of Oscar’s history that wins all major categories. On top of the forementioned 3, best actor, best movie of the year, best director, best script, best editing. No protection company has ever succeeded such feat, not even the mighty Disney. Or Sony even Marvels !