Best Scene: Final scene.
4. John Gielgud in Prospero's Books - Within a director's film Gielgud remains present and elevates its style with his refined yet fluid performance.
Best Scene: Constructing a romance.
3. Matthew Macfadyen in Pride & Prejudice - Macfadyen plays to the truth of a betrayed introvert in creating a more dynamic Mr. Darcy.
Best Scene: First declaration.
2. Tatsuya Nakadai in Kill! - Nakadai gives his own take on Yojimbo essentially and brilliantly finds his own alternative method of the clever badass.
Best Scene: Final fight.
1. John Heard in Chilly Scenes of Winter - Heard gives a captivating but also unnerving depiction of a man's privileged view of a relationship crashing with reality.
Best Scene: The breakup.
Next: The very brief waiting game.
52 comments:
Nice to see Heard go up to #2 for 1979, and for Ray to finally crack a Best Director lineup.
Louis: Ratings and thoughts on the cast of Devi (and where would you rank Chatterjee in Supporting), and your thoughts on the following scenes:
Opening
Kalinkar's Dream
Failing to convince Doyamoyee
Final confrontation/Ending
Nice. Glad to see the discovery I made with Chilly Scenes last year had an impact.
Louis: Disregard part of my earlier comment, I see you've ranked Chatterjee in Lead.
Hello Louis and folks
After the worst, now let's talk about the opposite: tell what was the best year in cinema?
For me, it's a tie between 1962 and 2007.
Can't wait to hear your thoughts on Tagore.
Louis: Thoughts on the screenplay and direction of Devi?
Just saw this article on GoldDerby: https://www.goldderby.com/film/2026/stellan-skarsgard-oscar-international-nominee-supporting-actor/
Holy shit, is that true? Figured this is the best place to ask, given that you all are clearly top-notch Oscar historians
Louis: Your thoughts on this scene from House MD:
https://www.youtube.com/watch?v=XfBTe_N-m6U
Luke: Just curious, what makes you think Clooney will get a 3 for Jay Kelly? I'm predicting a 2 for him, seems like it'll be The Descendants/Up in the Air all over again.
Harris: I think he'll be marginally better than that. A 3 wouldn't be too much of a stretch.
Personally I'm hoping it will be the other way around with Louis giving Clooney a decent enough rating and Sandler getting 2 or 2.5.
My NGNG prediction for tomorrow: Oscar Isaac makes into Best Actor, causing a Letterboxd/Bluesky civil war that will result in two bannings and thirteen ragequits.
Can someone explain to me what NGNG means?
Anonymous: No Guts, No Glory.
Thank you Luke
The Razzie list is out. I almost believed the award voters would nominate Anemone for screenplay or Day Lewis for actor.
https://variety.com/2026/film/news/razzie-nominations-2026-snow-white-the-weeknd-ice-cube-war-of-the-worlds-1236635371/
I have no real NGNG predictions but I would love it if Louis' prediction for Kleber Mendonça Filho comes true. But I'll be content with Moura, fingers crossed.
Otherwise, mentally preparing myself for the potential No Other Choice snub.
Tahmeed:
Chatterjee - (His performance is one of being the last sane man and just playing that straightforwardly as possible, as it should be. In his earliest scenes he establishes an uncomplicated love for his wife and essentially a bit of suspicion, or at least knowing exasperation for his father’s whims. His performance then in creating the progression of basically a personal horror brings such a consistent and potent empathy within his performance. There’s a strict sincerity within his work and an earnestness that creates the sense of the real damage to what we could see was a healthy relationship. His work is particularly moving because he manages to internalize the distress building towards his final moment of saying what he thinks to his dad so naturally and powerfully.)
Tagore - 5(I loved this performance that really needs to create a very difficult portrait of both crafting a natural humanity but within the tricky context of someone who is willing to essentially be the goddess required of her. In her earliest scenes Tagore brings the right complexity between an earnest affection with her husband, but this degree of timidness of someone looking for outlets or a way to perhaps break out a little more. So when her father-in-law comes to her with his bizarre idea, Tagore’s fascinating in the way she silently is able to convey the calculation between being taken aback by the idea and strangely embracing it as some kind of purpose, not so much spiritually at first but more so connecting with the household/world that she’s encased within. When we come back and her husband tries to get her to stop, Tagore’s portrayal of that slow basic acceptance and building belief even in the communal delusion is so elegantly performed because she naturally expresses the way it changes from just human need for connection to embracing the role far beyond playacting. Leading to the eventual breakdown where she’s incredibly moving because the shattering isn’t just because she knows what it will mean by the reaction of others, the failure to save someone, but also just the realization of the delusion. Not as a surprise but an acceptance of something she always knew deep down.)
The opening is incredibly striking, and Ray I’d say was often about capturing intimate spaces and moments. This one is all about the grandiose and with such potent direction in capturing such striking spectacle around the central so memorable image of the glowing goddess. Seeing the way this figure will be essentially overwhelming the rest of the narrative and carefully seeing the reactions between father and son to what the goddess represents.
The dream again is such a visually captivating moment that shows Ray’s talents in that department so potently whenever he chose to pull out that skill. In this just the white eyes on the black frame, given to the shot of Dagore is theoretically simple but the lighting the dissolve is so viscerally striking.
Failing to convince here is such a simple and moving scene comparatively, and very much performance based, though where you see Ray, who I think combats with just Ozu, when it comes to such dynamic yet intensely intimate shots. Where we see his desperation just to get his wife back so earnestly against her as earnest in her fixation on being the goddess they’ve convinced her to be.
The ending brings such a powerful combination between the catharsis of the son finally getting to say exactly what he thinks to his dejected father, and just the sincere words of connection and comfort to his wife afterwards. All I have to say is that it is so beautifully filmed, especially the lighting of the final scene between husband and wife, where it finally feels lit for the hope of the outside world they’re going to run to, just a gorgeous scene to look at but also so powerful to experience.
Anonymous:
A rarity of a screenplay within Ray’s oeuvre since he didn’t write it, and I think looking back it is noticeable by the nature of the conversations, though that isn’t a criticism. What the screenplay however does is essentially set up this design, which in turn is such a striking commentary, on what when can sacrifice, also accept and also delude per one’s obsession. Crafting the process then by placing the pinpoints in the specific structure of basically crafting the “goddess” then slowly destroying that image.
Ray’s direction is some of his most dynamic in his career, and he’s always a compelling director. This is one of his most visually inclined films however and Ray doesn’t waste a single notion in crafting such a tangible atmosphere. A mix between atmosphere of the time and setting, but also more importantly the separation between the sort of spiritual hysteria and the human connection between people. Something Ray plays with so potently through the incredibly specific use of imagery and exceptionally dynamic lighting in every scene that crafts both belief and delusion.
Anonymous:
Yes that is true. And I wouldn’t say anyone really has ever come all that close before.
8000’s:
Quite an impressive use of a fake accent specifically designed as a fake accent his American accent would do rather than his natural accent, which is quite impressive.
Luke:
Fraser - 4(It’s a good performance where his earnestness does play well into the specific tone of the film, the problem is though that the film just asks for too many switches too quickly making it so he really can only go so far. I liked the emotional warmth he brought and his reactions to both connections he makes are moving. They just are rushed and without enough nuance within his personal struggle to really make a powerful impact. This again though is the writing that creates the limitations, as Fraser is good with what he has.)
Hira - 3.5(Kind of fun just to see him in the most lighthearted role after his cold villainy in Shogun, bring a sincerity in his sweet “sell” of his concept, though with enough a certain slight bit of undercutting aside that he knows it is a bit of game in its way.)
Yamamoto - 3(Found her storyline to be especially undercooked in the scheme of the film both in terms of her personal rental but also her relationship with Fraser. She’s fine with the general emotions but her place as a sage character doesn’t really add up to much.)
Emoto - 3.5(Brings an enjoyable enough kooky energy that I think he finds enough of a balance to not be too much though the role in conception wants to be silly but the big heart. Emoto I think manages to those notes though again I think with a bit better writing could’ve been something far more profound.)
Offerman - 4(It’s a good performance but too limited by the confines of the script. As Offerman can with such certainty espouse nonsense at a rate like few others, where there is a palatable ease about his convictions, then get scary where you see the rage that bubbles up the moment someone pushes any of these beliefs for more than a second. Unfortunately the film basically wants him to hit these two notes, you get just a little more in the bit of fear he brings when his son makes a certain turn, and his moments of weird warmth with Plimpton, but there was a lot more potential than we see in the actual realization due to the writing.)
Tremblay - 4(Also a good performance, though definitely co-lead with Offerman, in playing the state of arrested development of having to be his dad’s constant puppet basically, where Tremblay is good in playing that edge between absolutely believing his dad and painting some degree of doubts in some of his reactions. Again though the notes are a little too consistent as written for Tremblay to do too much with them, and I will say so far, doesn’t seem to suffer from Tye Sheridan syndrome.)
Plimpton - 3.5(Kind of an interesting notion where you see her espouse the same views but there’s more of a doubt in her voice. Not that she doesn’t believe it entirely but rather that she’s building it up a bit in her head without the same fervency as Offerman.)
Quaid - 3(Wholly fine as basically “old school” guy but one where you do sense he genuinely cares, where his later reactions are certainly moving.)
Louis: Is Tagore 2nd or 3rd for Best Actress 1960.
Louis: Rating and thoughts on Shannon Mahina Gorman and Shino Shinozaki in Rental Family?
Luke:
3rd.
Louis: Ratings and thoughts on the cast of Magazine Dreams.
Razor:
Gorman - 3(Not a great kid performance not a bad one. You can tell she's not a natural but she also gets along just well enough.)
Shinozaki - (Is in the movie)
Luke:
Majors - 3.5(I will say even before all things were derailed regarding his career, it is evident there was a certain bag of tricks he was starting to use, or better described as overuse, as there are moments that reminded of his worst work in Loki where its jus tall about the tics to really an overbearing extent. Having said that, I don't think he's all bad here, there are moments where he does capture the emotional rawness of the character in a way that feels far more tangible, with certain more vulnerable moments of just quiet reactions where he realizes the lost sad state. It's all over the the place in the swings of his performance, some moments effective some less so, though inconsistent more of his performance works than does not.)
Bennett - 3(As the slightly scared possible girlfriend, she's perfectly find in playing the slight unease but the role doesn't have much to it.)
Paige - 3(Really just there for a quick bit but is good in variating between the role she's playing and then the reality of it.)
Harris - 3(Brings a find combination between fear and genuine concern for him, but her scenes unfortunately are repetitive.)
Page - 3(The role had potential as when we see him Page does create the sense of complication between pity, annoyance and concern for his grandson, but the role just ends up being another underwritten facet of the film)
Ytrewq: I'm with you on that. Clooney was adequate, but Sandler was nothing special to me.
Louis: What are your ratings and thoughts on Stacy Martin and Matthew Beard in The Testament of Ann Lee, and Thomas Mann in Sovereign?
Moderately surprised that Rachel Ziegler didn't make the cut with her WSS co-star.
Can't wait to see Louis's category rankings tomorrow.
My Final Predictions
PICTURE
Bugonia
Frankenstein
Hamnet
It Was Just an Accident
Marty Supreme
OBAA
The Secret Agent
Sentemental Value
Sinners
Train Dreams
DIRECTOR
Hamnet
It was Just an Accident
OBAA
Sentimental Value
Sinners
ACTOR
Timothee Chalamet
Joel Egerton
Michael B. Jordan
Wagner Moura
Lee Syung Hun
ACTRESS
Jessie Buckley
Rose Byrne
Chase Infiniti
Renata Reisnve
Emma Stone
SUPP ACTOR
Del Toro
Elordi
Mescal
Penn
Skarsgard
SUPP ACTRESS
A'Zion
Grande
Madigan
Musako
Taylor
J96: I am worried also that Leonardo DiCaprio gets snubbed yet again.
I thought Clooney was actually decent in Jay Kelly, but I really didn't care for Sandler at all, far too calculated and I don't think he can do calculated.
Leonardo DiCaprio getting snubbed would be disgraceful, he was brilliant and deserves to be nominated
J96: What do you base your Lee Byung-hun prediction on?
I just post my predictions on my Gold Derby page (if anyone else here is on it, feel free to add me):
https://www.goldderby.com/members/tahmeedchowdhury/
Louis: Wait... you had a Gold Derby account this whole time? Then why'd you go through the hassle of typing out your predictions when you could've just posted a link?
Surprises happen every year.
J96: I adore your optimism man. Having seen NOC recently, Lee is my undisputed win, with Edgerton s close second. So I hope, you are absolutely correct on both of them lol.
My final predictions for the nominees:
SONG
"Dear Me" - Diane Warren: Relentless
"The Girl in the Bubble" - Wicked: For Good
"Golden" - KPop Demon Hunters
"I Lied to You" - Sinners
"Train Dreams" - Train Dreams
SCORE
Frankenstein
Hamnet
One Battle After Another
Sinners
Sirât
SOUND
Avatar: Fire and Ash
F1
Frankenstein
One Battle After Another
Sinners
EDITING
Hamnet
Marty Supreme
One Battle After Another
The Secret Agent
Sinners
VISUAL EFFECTS
Avatar: Fire and Ash
F1
Frankenstein
Superman
Wicked: For Good
MAKEUP AND HAIR STYLIST
Frankenstein
Sinners
The Smashing Machine
The Ugly Stepsister
Wicked: For Good
COSTUME DESIGN
Frankenstein
Hamnet
Hedda
Sinners
Wicked: For Good
PRODUCTION DESIGN
Frankenstein
Hamnet
The Secret Agent
Sinners
Wicked: For Good
CINEMATOGRAPHY
Frankenstein
Hamnet
One Battle After Another
Sinners
Train Dreams
INTERNATIONAL FEATURE
It Was Just an Accident - France
No Other Choice - South Korea
The Secret Agent - Brasil
Sentimental Value - Norway
The Voice of Hind Rajab - Tunisia
ANIMATED FEATURE
Arco
Elio
KPop Demon Hunters
Little Amélie or the Character of Rain
Zootopia 2
ADAPTED SCREENPLAY
Bugonia
Hamnet
No Other Choice
One Battle After Another
Train Dreams
ORIGINAL SCREENPLAY
It Was Just an Accident
Marty Supreme
The Secret Agent
Sentimental Value
Sinners
CASTING
Hamnet
One Battle After Another
The Secret Agent
Sentimental Value
Sinners
SUPPORTING ACTRESS
Odessa A'zion
Inga Ibsdotter Lilleaas
Amy Madigan
Wunmi Mosaku
Teyana Taylor
SUPPORTING ACTOR
Benicio del Toro
Jacob Elordi
Paul Mescal
Sean Penn
Stellan Skarsgård
LEAD ACTRESS
Rose Byrne
Jessie Buckley
Chase Infiniti
Renate Reinsve
Emma Stone
LEAD ACTOR
Timothée Chalamet
Leonardo DiCaprio
Michael B. Jordan
Wagner Moura
Jesse Plemons
DIRECTOR
Paul Thomas Anderson
Ryan Coogler
Kleber Mendonça Filho
Jafar Panahi
Chloe Zhao
PICTURE
Bugonia
Frankenstein
Hamnet
It Was Just an Accident
Marty Supreme
One Battle After Another
The Secret Agent
Sentimental Value
Sinners
Train Dreams
I know I'm exaggerating with The Secret Agent. But you know how short life is.
Last minute, I’d like to swap Grande for the young lady from Sentimental value. I also predict Fantastic Four will get into VFX and Production Design. Sinners for VFX as well.
I just want it to be known, I never gave up hope on Mariam Afshari. (Although, apparently they campaigned her as Lead? That just seemed counterproductive)
I'm also betting on a single screenplay nod for Wake Up Dead Man.
Lindo
WUNMI AND DELROY!!!!!!!!
My man Delroy Lindo finally gets his due!
Surprised Lindo made it, Mescal kinda made sense as the snub of the film.
Lowkey more surprised about Fanning.
Blue Moon making it on Screenplay makes me fear for Plemons
Dang! No Other Choice got snubbed.
Aaaaand Hawke takes the fifth spot!
Kate Hudson Over Chase Infiniti???????????
I did not predict F1 for Picture.
Louis, what would be your double features for this year’s BP noms?
Post a Comment