The road to the 2024 Oscars is becoming clearer now that all major contenders have screened for AMPAS members and key critics. This Thanksgiving, the lineup of potential Best Picture nominees is nearly solidified, with James Mangold's A Complete Unknown being the last to debut. While the film has garnered polite reviews, it seems more an acting showcase than a serious contender for the Academy's top honor.
At the forefront are Anora and Conclave, widely regarded as the strongest candidates for Best Picture. These two films have dominated discussions, consistently topping prediction charts, and have gained significant traction among Oscar voters.
A new wrinkle in the race is the divisive inclusion of September 5. Scott Feinberg of The Hollywood Reporter has boldly declared it a “lock” for a Best Picture nomination, a sentiment not universally shared. Directed by Tim Fehlbaum and set against the backdrop of the 1972 Munich Olympics terrorist attack, September 5 serves as a love letter to journalism, told through the lens of ABC Sports' groundbreaking coverage. Starring Peter Sarsgaard, Sandra Hüller, and John Magaro, the film explores themes of courage and perseverance under extreme circumstances.
Despite its compelling premise, September 5 faces skepticism. Critics note it treads familiar territory, lacking the innovation of its competitors. While the film secured a $10 million distribution deal with Paramount and boasts an aggressive awards campaign, some believe it falls short of the emotional resonance needed to break into the Oscars' final 10 nominees.
The broader landscape includes heavyweights like The Brutalist, Dune: Part II, and Wicked, with The Brutalist emerging as a dark horse and Dune surprisingly trailing in momentum. With a mix of established juggernauts and fresh challengers, the 2024 Oscars promise an unpredictable race.
September 5 is a technically impressive film with strong performances, particularly from Sandra Hüller, whose work continues to captivate this awards season. However, its narrative feels overly familiar, offering little innovation in its storytelling. While I appreciate its homage to journalism, it lacks the cinematic punch required for a Best Picture win.
Anora and Conclave, on the other hand, are riveting films that blend powerful storytelling with artistic flair. They seem destined for awards glory. Personally, I find Feinberg's confidence in September 5 surprising, but it speaks to the subjective nature of the Oscars race.
Do you agree with The Hollywood Reporter's prediction that September 5 is a lock for Best Picture, or do you think other films like Dune: Part II or Wicked deserve the spotlight?
