Academy Awards (Oscars)

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      On the Ground at the Governors Ball 2025 Oscars Party

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      Adrien Brody, with his best actor statuette, for “The Brutalist.”Zoe Saldaña, who won best supporting actress for her role in “Emilia Pérez.”Conan O’Brien, who hosted the ceremony. Paul Tazewell, the “Wicked” costume designer, with his Oscar.Kieran Culkin, holding his statuette, with his manager Emily Gerson Saines.From left, Sean Baker and Samantha Quan of “Anora,” holding Oscars, and behind them, Wolfgang Puck.Willem Dafoe.Brandon Wilson of “Nickel Boys.”A server, in the shadows.Basel Adra, left, and Yuval Abraham, winners of the award for best documentary feature film for “No Other Land.” The director Gints Zilbalodis, who won for his animated feature “Flow.”Guests at the party. More

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      The Best Dressed Men at the 2025 Oscars Skipped the Traditional Tuxedo

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      At last night’s Oscars the men who skipped the penguin suits stole the spotlight. Stylists and brands should pay attention.If you wish to fully grasp Timothée Chalamet’s Oscars suit, you may do better to consult a food reporter rather than a fashion critic.They might be able to tell you the outfit was a shade of French butter. Or was it egg yolk? Perhaps just lemon?Whatever the tint of his monochrome look, Mr. Chalamet’s effervescent not-a-tux was the consensus gotta-talk-about-it outfit of the evening. There was certainly much to scrutinize. The jacket was cropped like a maitre d’s uniform. A tie? Overlooked. In its place, a dot of a pearl collar. The pants, which weren’t even suit pants but were, in fact, shaped like five pocket jeans, puddled indifferently around his glossed black boots.Timothée Chalamet was nominated for his role in “A Complete Unknown.” Nina Westervelt for The New York TimesIt’s unclear if this outfit was nodding to an outfit Bob Dylan once wore, as some of Mr. Chalamet’s carpet looks have during this award’s season sprint, but his Oscars look at least had the spirit of Dylan. (This critic’s theory: It was “Blonde on Blonde” in outfit form.) This was a suit that smirked at ceremony but felt glamorous and elevated despite it’s provocation.The unusual red carpet outfit also provided a crucial preview for Givenchy, who made it specially for Mr. Chalamet.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      The Fairy Tale Night of Sean Baker, Director of Dreams Gone Awry

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      Baker’s four Oscars for “Anora” are validation of his sensitive portrayals of people on the margins who always seem to come up short.Sean Baker came equipped with extra speeches, and that was wise: On the night of the Oscars, he wound up onstage four times to receive four statues.That’s not just unusual. It’s almost unheard-of.Baker’s film “Anora,” about a sex worker in the Brighton Beach neighborhood of Brooklyn who marries the son of a Russian oligarch and then watches it all go sideways, earned five Oscars overall on Sunday. One went to its ingénue star, Mikey Madison, and four to Baker: best director, best original screenplay, best editing and best picture.By taking home four Oscars on a single night, Baker joins just one other luminary: none other than Walt Disney, who pulled off the same trick in 1954. That year, Disney won best documentary feature (“The Living Desert”), best documentary short subject (“The Alaskan Eskimo”), best cartoon short subject (“Toot, Whistle, Plunk and Boom”) and best two-reel short subject (“Bear Country”).But even Disney didn’t pull off Baker’s feat: earning four Oscars on one night for the same movie. Doing so requires wearing a lot of hats, and Baker, who started his career in ultra-low-budget independent films, has a deep hatrack.Movies are a collaborative art, and even the most hands-on filmmakers work with a team of artists and craftspeople. But writing, directing, editing and producing a film leaves a distinctive personal mark. Disney, who was heavily involved with his studio’s projects, certainly did so. Similarly, “Anora” audiences who know Baker’s work probably spotted his fingerprints from the moment the film starts. (And not just because Baker emulates John Carpenter, Woody Allen, Stanley Kubrick and Wes Anderson by sticking with one typeface for the titles of all his films — Aguafina Script Pro, if you were wondering.)One of Baker’s hallmarks, the one people most often associate with him, is a focus on people who live on the margins of society, especially but not exclusively sex workers.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Oscars 2025’s Best and Worst Moments: Speeches, Performances and More

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      There was plenty to take in, including a “Wicked” opener, Conan O’Brien gags, and memorable speeches both good and bad. And people watching on Hulu saw almost all of it.Most Gravity Defying Opener: ‘Wicked’When it was announced that Ariana Grande and Cynthia Erivo would perform at the Oscars, it was assumed they would sing something from “Wicked,” the film for which they were both nominated. They did, of course. It would be silly to pass up that opportunity. But the women also paid tribute to previous cinematic versions of Oz, showing how Hollywood had imagined L. Frank Baum’s world through the years.Grande emerged first, wearing a sparkling red gown, channeling Judy Garland to sing “Over the Rainbow” from “The Wizard of Oz.” She then ceded the stage to Erivo, who performed “Home,” Dorothy’s ballad from “The Wiz,” famously sung onscreen by Diana Ross. And, yes, then they closed with “Defying Gravity,” the signature song from “Wicked,” with Erivo bringing everything home with her shiver-inducing war cry. (Later, we returned to Oz to honor Quincy Jones when Queen Latifah performed a rousing rendition of “Ease on Down the Road.”) — Esther ZuckermanSean Baker joined rarefied company with his Oscar haul.Philip Cheung for The New York TimesMost Dominant Night: Sean BakerThe “Anora” director has hovered around the outer edges of the Academy’s sensibility with his previous films “The Florida Project,” which earned Willem Dafoe a supporting-actor nomination, and “Red Rocket,” which had some Oscar buzz but was ultimately snubbed. Now Baker appears to have hit a sweet spot: He earned four separate Oscars tonight — in the editing, directing, original-screenplay and best-picture categories — which tied the record set by Walt Disney. Don’t expect Baker’s R-rated films to get the same amusement-park treatment, though. — Kyle BuchananConan O’Brien, hosting for the first time, injected some silliness into the proceedings. Philip Cheung for The New York TimesBest Host for the Moment: Conan O’BrienGoing into the night, O’Brien was at least as nervous as he was excited. But from the filmed opening — in which he fished around in Demi Moore’s back, in a spoof of “The Substance” — to his monologue, O’Brien seemed to have a joyful glint, even (or maybe especially) when he was razzing the industry. (The sandworm from “Dune” earned its residuals.)We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Oscars 2025’s Unforgettable Looks: Ariana Grande, Zoe Saldana, Halle Berry

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      The 97th Academy Awards ceremony on Sunday was the end of an awards season that lost some of its luster because of tragic wildfires and controversies surrounding certain nominated films. But, for the most part, the heaviness in the air did not dim the sparkle of the season’s red carpets — and the custom “Academy Red” rug that stars paraded down at the Oscars was no exception.The occasion known as Hollywood’s biggest night had stars pulling out all the stops. Some turned heads in brilliant colors: saturated reds and blues, for instance, as well as pastel yellows and pinks. Others shone in metallic finery that shimmered with each step they took. And many who went with understated tuxedos or gowns made them more special with sparkly jewelry.Of all the fabulous attire, these 21 ensembles took the cake when it came to looks at the Oscars that won’t soon be forgotten.Emma Stone: Most Glazed!Jutharat Pinyodoonyachet for The New York TimesA piece of fine porcelain came to mind upon seeing the actress in her pale Louis Vuitton dress covered in glassy sequins.Michelle Yeoh: Most Smurfette!Jutharat Pinyodoonyachet for The New York TimesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Sean Baker Wins Best Director Oscar for ‘Anora’

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      Whoever won the prize for best director on Sunday night was going to receive a first directing Oscar, but no nominee has labored as a filmmaker more single-mindedly for a longer time than Sean Baker, the creative force behind “Anora.”By winning the Oscars for director, original screenplay, film editing and best picture (as a producer), Baker tied the record for most Oscars won by an individual in one year with a very famous name. Walt Disney won four awards for four different films in 1954, none of them particularly well remembered today.“Anora,” a Cinderella story that foregrounds hot topics like class, immigration and global capitalism through the story of a stripper who initially accepts money for sex, is in many ways typical of Baker’s oeuvre. Like several of his past movies, including “Tangerine” (2015) and “The Florida Project” (2017), it blends comedy and drama, depicts sex workers sympathetically and makes copious use of nonprofessional actors.But “Anora” signaled Baker’s mainstream recognition. Nearly a year ago, the film won the Palme d’Or, the top prize at the Cannes Film Festival; more recently, it picked up top prizes from the directors and producers guilds. On Sunday, the movie’s star, Mikey Madison, received the Oscar for lead actress.Baker beat out the directors Jacques Audiard, for “Emilia Pérez”; Brady Corbet, for “The Brutalist”; Coralie Fargeat, for “The Substance”; and James Mangold, for “A Complete Unknown.” More

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      Mikey Madison Wins Best Lead Actress Oscar for ‘Anora’

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      Mikey Madison, who played a feisty and tenacious sex worker in the movie “Anora,” won the Oscar for best lead actress.It was Madison’s first Oscar nomination.The win was something of an upset; Demi Moore, who has seen a career revival for her dynamic performance as an aging fitness star in “The Substance,” was favored to win her first Oscar for the role.“Anora” — which went on to win the biggest award of the night: best picture — was directed by Sean Baker and revolves around Madison’s character, known as Ani, as she has a whirlwind romance with a Russian oligarch’s son after meeting him at her strip-club gig.The role required feats of physicality, both in performing the job of a dancer in a strip club and in fighting back when the oligarch sends his henchmen to force the couple to annul their Las Vegas marriage.“This is a dream come true — I’m probably going to wake up tomorrow,” Madison said in her acceptance speech, in which she thanked Baker, her family and the movie’s movement consultant, Kennady Schneider, among many others.Madison also underscored the influence that sex workers had on her performance. To study her character, she read memoirs by sex workers, underlining sections of Andrea Werhun’s “Modern Whore.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More