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    Where to Stream the 2025 Oscar Winners, From ‘Anora’ to ‘Flow’

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    Most of the awarded films, including the winner of best picture, can be watched at home. Here’s a guide to catch up.In a resounding win for American independent film, “Anora,” Sean Baker’s rambunctious comedy-drama about the marriage between a Brighton Beach sex worker and the son of a Russian oligarch, won five Oscars, including one for its lead actress, Mikey Madison, and a record-tying four for Baker, who took home statuettes for picture, director, editing and his original screenplay.“Anora” and most of the other winners are available to rent on major platforms or subscription services, and the three winning shorts are only a click away, too, though the full Oscar shorts programs are still circulating in theaters across the country. The only films currently only available in theaters are the best international feature winner “I’m Still Here” and the documentary feature winner “No Other Land,” an Israeli-Palestinian co-production that’s finding its way to art houses around the United States without official distribution.‘Anora’The writer, director and editor Sean Baker narrates a sequence from his comedy featuring Mikey Madison and Mark Eydelshteyn.NeonWon for: Best picture, director, actress, original screenplay, editing.How to watch: Rent it on Amazon, Apple TV+, Fandango at Home, Google Play and YouTube.The writer-director Sean Baker’s rambunctious film concerns the whirlwind romance between a sex worker from Brighton Beach and the son of a Russian oligarch. It somehow channels both the madcap energy of classic screwball and the unfiltered emotion of John Cassavetes. Much of that liveliness is owed to Mikey Madison’s firecracker of a performance as Ani, a stripper whose time with a handsome young party animal, Ivan (Mark Eydelshteyn), at first seems like a “Pretty Woman” fantasy. But a quickie marriage draws attention from Ivan’s minders in the states and his parents abroad. Ani’s fight for their relationship, which turns literal at times, is alternately slapstick and touching.‘The Brutalist’The director Brady Corbet narrates a sequence from his film, starring Adrien Brody. The movie is nominated for 10 Academy Awards.Lol Crawley/A24Won for: Best actor, cinematography, score.How to watch: Buy it on Amazon, Apple TV and Fandango at Home.Just as the unity of form and function is the goal of any great architect, Brady Corbet’s epic about the architectural vision of a Hungarian-Jewish Holocaust survivor goes pointedly against the grain, from its 215-minute running time (with an intermission in theaters) to its use of VistaVision, a large-format process that hadn’t been used for a feature since 1961. As László Toth (Adrien Brody) emigrates to Philadelphia after the war and eventually finds work for a temperamental industrialist (Guy Pearce) with big plans for a community center, “The Brutalist” grows into a grand statement on the tension between art and commerce, and the compromise that often comes as a result. On that front, Corbet himself has unquestionably triumphed.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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      What to Watch For at the Oscars: ‘Emilia Pérez,’ Cynthia Erivo and More

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      From the most competitive races to the lasting controversies, here’s a guide to becoming an instant expert.The Best Picture Race Looks Wide OpenRalph Fiennes in “Conclave,” which is a top contender for the best picture Oscar. Its biggest competition: “Anora.”Focus FeaturesWhen the Ralph Fiennes-led papal thriller “Conclave” secured the highest honor at the 31st Screen Actors Guild Awards last weekend, it seemed like a strong indicator that it would prevail in the best picture category at the Academy Awards on Sunday night. After all, the last three winners of SAG’s top prize — “Oppenheimer,” “Everything Everywhere All at Once” and “CODA” — all won the best picture statuette at the Oscars.But it isn’t exactly that clear cut.Those past three films had essentially swept their awards season, and aside from the SAG Awards, “Conclave” has won only one other best picture title, at the BAFTAs in February.“Anora,” the comedy-drama about a stripper (played by Mikey Madison) whose modern fairy-tale romance implodes, had several of the other early big wins this season, including two major industry prizes — from the Directors Guild of America and the Producers Guild of America — that almost always signal a best-picture Oscar up ahead.Also, Edward Berger, the director of “Conclave,” was not nominated for a best directing Oscar. Only six films in the history of the Oscars have won best picture without a best directing nomination, most recently “CODA” in 2022.Scandals Plague ‘Emilia Pérez’Karla Sofía Gascón in “Emilia Pèrez.” She is up for a best actress Oscar, but her chances of winning may have been derailed by recent scandals.Shanna Besson/NetflixJust a few weeks ago, “Emilia Pérez” was on top of the world. The Spanish-language musical out of France had earned 13 Oscar nominations, the most of any film this year (and nearly the most ever), and its lead, Karla Sofía Gascón, made history as the first openly transgender actress to be nominated for an Academy Award, in the best actress category no less.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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      How to Watch the Oscars 2025: Date, Time and Streaming

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      Conan O’Brien will host the annual awards, which will be available to watch live on a streaming service for the first time.It seems like a lifetime ago that Sean Baker’s screwball comedy “Anora” first emerged as the favorite in the best picture race (no one was yet even thinking about holding space for “Wicked”).But we’re now right back where we started in the fall with both math and our Projectionist columnist, Kyle Buchanan, predicting that “Anora” will emerge triumphant. It’s by no means a sure thing — last weekend’s big Screen Actors Guild Awards winner, the papal thriller “Conclave,” could play spoiler.In the acting races, Demi Moore appears to be the one to beat after notching another win at the SAGs (though Buchanan says not to count out Fernanda Torres, who delivers a tour de force performance in the quiet Brazilian drama “I’m Still Here”).But could Adrien Brody, who plays a Jewish architect who survives the Holocaust in “The Brutalist,” be in for an upset from the 29-year-old Timothée Chalamet, who has embarked on a decidedly unconventional — and very online — Oscar campaign for his lead role in the Bob Dylan biopic “A Complete Unknown”?Here’s everything you need to know.What time does the show start and where can I watch?This year’s show is again one for the early birds: The ceremony is set to begin at 7 p.m. Eastern, 4 p.m. Pacific, at the Dolby Theater in Los Angeles.On TV, ABC is the official broadcaster. Online, you can watch the show live on the ABC app, which is free to download, or at abc.com, though you’ll need to sign in using the credentials from your cable provider. There are also a number of live TV streaming services that offer access to ABC, including Hulu + Live TV, YouTube TV, AT&T TV and FuboTV, which all require subscriptions.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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      Best Picture Oscar Nominees: Behind the Scenes of ‘Anora,’ ‘Conclave’ and More

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      In these videos, directors walked us through pivotal scenes from their 2025 Academy Award-nominated films.Sometimes all it takes is one scene. One scene to understand where a movie may take you. One scene to connect with its characters. One scene to give a sense of its style.In this collection of sequences from the 10 movies nominated for best picture at the 2025 Academy Awards (airing Sunday, March 2), you will hear director commentary that illuminates each nominee. A few scenes play out largely in one shot, others build out their world from a song. But each one required an intensive combination of craft and planning to pull off. Watch those narrated scenes below.Sean Baker on ‘Anora’The writer, director and editor Sean Baker narrates a sequence from his comedy featuring Mikey Madison and Mark Eydelshteyn.NeonBrady Corbet on ‘The Brutalist’The director Brady Corbet narrates a sequence from his film, starring Adrien Brody. The movie is nominated for 10 Academy Awards.Lol Crawley/A24James Mangold on ‘A Complete Unknown’James Mangold narrates a sequence from his film, starring Timothée Chalamet.Macall Polay/Searchlight PicturesEdward Berger on ‘Conclave’The director Edward Berger narrates a sequence from his film, featuring Ralph Fiennes.Philippe Antonello/Focus FeaturesDenis Villeneuve on ‘Dune: Part Two’The director Denis Villeneuve narrates a battle sequence from his film, featuring Austin Butler.Niko Tavernise/Warner Bros. PicturesJacques Audiard on ‘Emilia Pérez’The director Jacques Audiard narrates a sequence featuring the song “El Mal” from his film, with Zoe Saldaña and Karla Sofía Gascón.Shanna Besson/NetflixWalter Salles on ‘I’m Still Here’The director Walter Salles narrates a scene from his film, which has an Oscar nomination for best picture.Alile Onawale/Sony Pictures ClassicsRaMell Ross on ‘Nickel Boys’The director RaMell Ross narrates a sequence from his film, which has been nominated for best picture.Orion PicturesCoralie Fargeat on ‘The Substance’The writer and director Coralie Fargeat narrates a sequence from her film starring Demi Moore.MubiJon M. Chu on ‘Wicked’The director Jon M. Chu narrates a scene in “Wicked” that features the song “Popular,” with Ariana Grande and Cynthia Erivo.Universal Pictures More

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      Oscars 2025: There’s Something Weird About the Best Picture Nominees

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      It’s entirely probable that scandal, gossip, politics and a general sense of “never heard of it before” have obscured something obvious and important about this year’s 10 best picture Oscar nominees. They’re weird — every single one. They take weird forms. The people in them do weird stuff. They induce weirdness in you.Demi Moore jabs herself with a goop known as “The Substance,” and out of her split-open back climbs Margaret Qualley, who refuses to obey the goop’s rules and proceeds to ruin their life. I paid to see this movie in a packed theater on a Saturday afternoon, where we laughed, screamed and almost threw up.Believe it or not, that movie’s a fairy tale, a funny one. So’s “Anora.” Here, the would-be princess is a Brooklyn stripper who marries a Russian nitwit whose oligarch father dispatches a goon squad to procure an annulment. If I told you “The Brutalist” ran for more than three hours and pitted a recent Holocaust survivor against his moneybags employer, maybe you’d ask which Oscar lab cooked this thing up. Then I’d have to tell you that the scale of this thing is so strangely intimate, so redolently personal, that it feels as much eavesdropped on as its premise sounds familiarly epic.A sugarless Brazilian dictatorship melodrama (“I’m Still Here”) is up against a sugar-encrusted American dictatorship musical (“Wicked”). “Conclave,” the pick-a-pope nail-biter, relies on so much shanking that it feels like a prison movie and features more cafeteria grandstanding than “Mean Girls.” For a spell, the front-runner had been “Emilia Pérez,” a musical fairy tale whose songs flout rhythm and melody, and whose Mexican cartel overlord mistakes her transness for sainthood. Then its star’s bigoted old tweets and some harsh comments by its mighty French director (about Mexicans and the Spanish they speak) turned the Oscar race into “Conclave.”Stellan Skarsgard plays the vindictive Baron Harkonnen in “Dune: Part Two,” a pretty weird blockbuster.Niko Tavernise/Warner Bros.Then, there’s “Dune: Part Two,” a movie so expensive looking, so smoothly, tastefully, artfully done that it’s easy to remain passive in the face of all that’s weird about it. But look! It’s Stellan Skarsgard, plumped, pursy and a-vape, as a baron whose kink, in part, arises from stadium-size gladiatoring. When this series is complete, many hours will have been spent watching Timothée Chalamet as the Chosen One amid a war over seasoning. It’s “Lawry’s of Arabia,” “Lost in Spice.” The race delivers double-feature Chalamet. In “A Complete Unknown,” he boldly reimagines Bob Dylan as a figure of tremendous petulance. Otherwise, it might be the most conventional thing you could hope to see about a once-in-a-lifetime weirdo; and that counts as kind of weird.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 Predictions: Who Will Win Best Picture, Actor and Actress?

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      The best picture race has been full of twists and turns. The best actress race is closely contested. Our expert predicts which films and artists will get trophies on Sunday.Best PictureMark Eydelshteyn and Mikey Madison in “Anora.”Neon✓ “Anora”“The Brutalist”“A Complete Unknown”“Conclave”“Dune: Part Two”“Emilia Pérez”“I’m Still Here”“Nickel Boys”“The Substance”“Wicked”After a few years where the best picture winner was practically ordained from the start of the season, at least this race has given us some twists and turns.First, there was the saga of “Emilia Pérez,” which led the field with a near-record 13 nominations but collapsed in controversy after the unearthing of disparaging tweets by its star, Karla Sofía Gascón. Then “Anora,” a front-runner that was utterly shut out at January’s Golden Globes, scored top prizes from the producers, directors and writers guilds.Those wins usually presage a best picture victory, especially because the producers guild uses a preferential ballot similar to the Academy’s. But in the late going, another contender began to surge as “Conclave” took the top prize at the Screen Actors Guild Awards (where “Anora” was once again shut out) as well as best film honors at the BAFTAs, the British equivalent to the Oscars.One thing gives me pause, though: If “Conclave” had the sort of across-the-board Academy support that a best picture winner can usually count on, it shouldn’t have missed out on slam-dunk Oscar nominations for directing and cinematography. “Anora” earned all the nominations it needed to, and its guild spread is hard to argue with, so that’s the film I project will win.Best DirectorJacques Audiard, “Emilia Pérez”✓ Sean Baker, “Anora”Brady Corbet, “The Brutalist”Coralie Fargeat, “The Substance”James Mangold, “A Complete Unknown”Baker picked up the DGA trophy but has strong competition from Corbet, who won best director at the BAFTAs. Still, I suspect the Academy will embrace “Anora” in both of the top categories. It helps that Baker has turned every acceptance speech he’s made this season into an upbeat rallying cry for theatrical independent filmmaking.Best ActorAdrien Brody in “The Brutalist.”Lol Crawley/A24✓ Adrien Brody, “The Brutalist”Timothée Chalamet, “A Complete Unknown”Colman Domingo, “Sing Sing”Ralph Fiennes, “Conclave”Sebastian Stan, “The Apprentice”Brody has been collecting prizes all season, though his reign was halted last weekend when Chalamet scored a last-minute SAG win. But Chalamet faces headwinds from an Academy that remains stubbornly resistant to recognizing young men: No one under 30 has ever won the best actor Oscar except for Brody himself, who notched his win for “The Pianist” at age 29. Come Sunday, he’ll add a second Oscar to the mantel.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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      There’s a New Kind of Woman Onscreen, Thanks to Women Behind the Camera

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      Movies contain a multitude of bodies in different sizes, colors and muscle tones, bodies that are trim, bulky, parched, surgically altered. Talking about them, though, especially women’s bodies, can be understandably fraught. For some observers, writing about them is unnecessary and objectifying, even if a lot of other people — politicians, activists, influencers, Supreme Court justices — can’t stop talking about them. “We’re always talking about the feminine condition and the role of women,” the filmmaker Agnès Varda once said. “But I want to talk about the woman’s body, about our bodies.” I want to talk about them, too.That’s because some of the most memorable movies that I’ve seen lately are from female filmmakers who are also clearly thinking about women’s bodies and helping expand what kinds of women we are seeing onscreen. One such movie I keep returning to is Gia Coppola’s “The Last Showgirl,” a recently released drama set on the frayed edges of Las Vegas. In a scene that keeps playing in my head, a cocktail waitress, Annette — played by a soulful Jamie Lee Curtis — climbs atop a small platform in the casino where she works and begins dancing. As slot machines ping around her, she slowly gyrates to the 1980s hit “Total Eclipse of the Heart.” Annette looks like she’s in her own world. She looks glorious.Curtis, who’s 66, has said the scene shows the “degradation of women at the end of their lives,” adding, that “nobody cares.” Scarcely any casino patrons glance at Annette as she dances, true. But I did care, and I suspect I wasn’t alone. I get it, though; older women can feel invisible — I do. Yet here Curtis, who’s bathed in beautifully diffused light during the scene, the camera pointed up in seeming adulation, is mesmerizing as she shimmies and dips into a squat, her thighs tense and strong. I adored watching Curtis play Annette, and I think Coppola wants us to love this character as much as she clearly does. That is also glorious.Playing the cocktail waitress Annette, Jamie Lee Curtis is mesmerizing as she shimmies and dips in a scene from “The Last Showgirl.”Roadside Attractions“The Last Showgirl” touches on mothering, friendships, the commodification of beauty and the role that women play, willingly or not, in their own objectification. It explores how identity is partly created, sustained and jeopardized by the gaze of others, and what it means when women gaze — at others, at themselves — which puts the film in dialogue with recent movies like “Babygirl,” “Nightbitch” and “The Substance,” which received five Oscar nominations. The protagonist of “Showgirl” is Annette’s friend, Shelly (Pamela Anderson) a dancer whose revue is shuttering. Clouded with worry, Shelly — like Anderson, the character is 57 — is anxious about her future and sense of self. Who is she, after all, if no one looks at her?Anderson likes to be makeup free; away from work, so does her character. Shelly loves being a showgirl — “feeling beautiful, that is powerful” — but when she puts on her costume, she’s cosplaying an old-fashioned ideal of femininity. Onstage, she plays a fantasy. When she’s offstage, Shelly is a person with a life, everyday concerns and friends, mostly women, who look at one another with gazes that find common cause. Coppola sees the world of “The Last Showgirl” as a metaphor for the America dream, one in which commodified bodies come with expiration dates. It is also an emblem for women in film, who have long fought against their perceived disposability and continue to find common cause in female-driven work.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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      Where the Oscar Race Stands After ‘Emilia Pérez’ Controversy

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      “Emilia Pérez” is hobbled, “Anora” is revitalized and plenty remains up in the air ahead of the March 2 awards ceremony.Sometimes, the period after the Oscar nominations can feel like a snooze. There may be a notable snub that’s worth discussing for a few days, but things eventually settle down and people begin to behave themselves as they head into the final stretch of the season.This hasn’t been that.The last two weeks in particular have been some of the most tumultuous in recent memory, thanks in large part to the controversy involving old tweets made by one of the “Emilia Pérez” stars, Karla Sofía Gascón. The initially defiant actress went rogue to defend herself, keeping her scandal in the headlines during several crucial voting periods. Now, a film that led the field with 13 Oscar nominations has been hobbled.After all of that turbulence, where do things stand? Here are five narratives now emerging from the season that I plan to keep an eye on.‘Anora’ ascendant“Anora,” starring Mark Eydelshteyn, left, and Mikey Madison, has momentum as the race enters its final weeks.Neon, via Associated PressAs this year began, the awards-season aspirations of “Anora” appeared to stall out. The Sean Baker-directed comedy went winless at the Golden Globes on Jan. 5, and that failure-to-launch feeling lingered over the next few weeks when the Critics Choice Awards, where “Anora” hoped to score anew, were postponed from Jan. 12 to Feb. 7 because of the Los Angeles wildfires.What a difference a weekend makes. On Friday, “Anora” picked up a best-picture prize at that delayed Critics Choice ceremony, and scored top honors the next night at separate shows held by the Directors Guild of America and the Producers Guild of America. Any movie that triumphs with both of those guilds has to be considered the best-picture front-runner, even though five years ago, “1917” conquered at the PGA and DGA awards and still lost the top Oscar to “Parasite.”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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      Demi Moore, On the Verge of Her First Oscar

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      Demi Moore is the star of one of the goriest, most audacious films ever nominated for an Oscar, the feminist body-horror satire “The Substance.” Onscreen, Moore, 62, dissolves and mutates in often grisly ways — nude, and in extreme close-up. And she could not be more self-actualized about it.The role required “wrestling with the flashes of my own insecurity and ego,” Moore explained. “I was being asked to share those things that I don’t necessarily want people to see.”She was speaking in a video interview last week, dressed in casual black and big glasses, twisting and tucking her legs under her, on her office couch, with every thought. Filming through that discomfort was a “gift — silver lining, blessing, whatever you want to call it,” she continued. “Once you put it all out there, what else is there? There’s nothing to hide. Being able to let go was another layer of liberation for me.” The following night, she won the Critics Choice prize for best actress.Her career and cultural resurgence is overdue, said Ryan Murphy, the showrunner and a friend who at long last convinced her to work with him in last year’s “Feud: Capote vs. The Swans.” She had the beauty and aura of an old-school movie star, he said, with the professional discipline to match, but the flexibility of a seeker: “Game to do anything,” he said. “She’s a pathfinder. We all talk about what she’s done for the business and for other women.”“The universe told me that you’re not done,” Moore said in her acceptance speech at the Golden Globes, talking about her role in “The Substance” that has her on the verge of an Oscar.And, he added, “she is one of the most emotionally intelligent people that you’ll ever meet. Whenever I have an emotional dilemma or I need advice, I do not go to my shrink — I go to her.”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