So, I finally sat down and worked my way through all the nominees in the drama category. Here are my raw thoughts on every single one of them.
Nomadland
If you listen to most film critics, this is the absolute best movie of 2020—and honestly, I’m right there with them.
Think back to that massive recession after 2008 (or was it 2009? My memory is a bit fuzzy...) and how so many factories in small American towns just shut down overnight. People lost everything—jobs, homes, stability. With nowhere else to turn, they became nomads, people drifting from place to place and trying to live in sync with nature. That’s basically what our main character is dealing with—a middle-aged woman who loses her entire life and decides to hit the road in her camper van, traveling across the USA in search of some kind of personal peace while meeting all sorts of fascinating characters along the way.
Now, I'll be real with you—the premise doesn't sound like a blockbuster. I truly believe plenty of people might be tempted to just switch it off after the first thirty minutes. But? If you view cinema as actual art, you’re going to be floored, because watching this is... it's a magical experience. It’s directed by Chloe Zhao, and this is only her third film, which is wild—I really need to go back and watch her first two—but I can already say we’re looking at a female Terrence Malick here. It’s hard to even put into words the atmosphere she builds throughout the whole thing. You just have to feel that magic and beauty for yourself. Visually and aesthetically? This is easily one of the most perfect films ever captured on film. Even when the script feels a little thin or the dialogue is sparse, Chloe Zhao makes up for it with this visual sorcery that I can only describe as moving poetry.
Frances McDormand gives what is probably the performance of her life here. You don't get the sense she's "acting"—it feels like she’s actually living through it. She conveys such a massive spectrum of emotion—sadness, joy, longing, hope—just through her expressions. Her performance is a masterpiece in its own right. And here's a cool detail: the nomads she meets on her journey aren't professional actors; they're actual nomads playing themselves. When they talk about their incredibly tough lives, the camera just holds steady, zooming right into their faces, making it feel almost like you're watching a documentary. This is where Chloe Zhao shows her real genius—blending documentary style with fiction to give us this raw, unfiltered look at the reality surrounding us.
This is a brilliant anti-capitalist piece of work. It won't be for everyone—the pacing is slow and can feel pretty monotonous at times—but for those who appreciate this kind of filmmaking, it’s an experience. It serves as a reminder of how simple life could actually be if we just returned to real values instead of constantly overcomplicating everything.
9/10
The Father
Man, what a total trip of a movie!!
The story follows a man struggling with dementia as his mental state spirals out of control, and his daughter who is trying to care for him. Honestly, that’s all I’m going to say about the plot, because I didn't fully grasp most of it myself! The film is incredibly trippy and confusing. As it progresses, you start getting this actual headache, questioning what is real and what is just happening inside the main character's fractured mind. Is anything even real? You have to watch this one carefully, multiple times, just to make sure you don't miss a single vital detail. Looking at the big picture, I think this is a profound study of losing one's identity and the sheer desperation of being human. Anthony Hopkins proves once again why he is one of the greatest actors to ever live. He perfectly portrays a man losing his grip on reality, and those last five minutes? Easily one of the most moving and devastating endings I've ever seen in a film.
9/10
Mank
I've always felt Citizen Kane is one of the most overrated movies of all time. Go ahead, linch me if you want, but I'll stand by it. Even so, the story behind the creation of that film and the whole controversy over the screenplay is super interesting, which is why I was really looking forward to this one.
The script was actually written by David Fincher's late father, and it was supposed to be filmed back in the late nineties. But since the studio wouldn't let him shoot it in black and white, he gave up on it. Fast forward about twenty years, and thanks to Netflix, we finally got the film exactly the way the Fincher father and son envisioned it.
I absolutely loved this movie. Honestly, if you just look at the premise—some alcoholic guy stuck in a cast, trying to write a screenplay that’s supposed to be some future masterpiece—it doesn't sound like much, right? Like, who would care? But man, the movie grabbed me from the very first frame and didn't let go. Mads is such a fascinating character, and honestly, his persona is really what makes the whole thing shine. The way the film jumps back and forth between the present day and the past might drive some people crazy—I get it, the constant timeline hopping can be frustrating—but for me, it was brilliant. It gives you this deep dive into the roots of his Citizen Kane story while he's actually sitting there grinding out the script. (And yeah, okay, maybe the actual script he's writing turns out to be a little shallow, but hey, that’s not really the point of this specific movie, is it?)
The direction here is just stunning—seriously. Between the camera work, that gorgeous black-and-white cinematography, and the costumes... man, they all just hit perfectly. It breathes life into the whole era; you honestly feel like you've been transported straight into a classic film from the 40s. There was this one specific moment, though—that scene between Mank and Marion out in the courtyard? It totally stuck with me. It actually reminded me so much of a similar scene in *La Dolce Vita*. Wasn't that just breathtaking?
Man, Gary Oldman just proves yet again that he can play absolutely anyone—seriously, the guy is a chameleon. Plus, her charisma is just magnetic; she keeps you glued to the screen the entire time without even trying. Huge props to the performances from Amanda Seyfried and Lily Collins, too. But honestly? I have to give it up for the actor playing Orson Welles (I totally blanked on his name, sorry!)—even though he’s only on screen for a bit, he completely nailed the whole Orson vibe. The look, the charm, everything... it was spot on.
Besides being this deep biographical dive into Mans, the movie really leans into my absolute favorite rabbit hole—that endless clash between capitalism and socialism. It does such a killer job showing how greedy American capitalists can be... honestly, just total bottom-feeders. They basically lean on that old propaganda tactic where you just repeat a lie over and over until everyone starts believing it’s the truth, all just to crush anyone who dares to think differently or actually wants to fix the world. And looking around? We’ve got all the proof we need that absolutely nothing has changed since then.
Honestly, this movie is just... it's its own thing entirely. It’s one of those rare experiences that stays with you—you know? I truly believe we're looking at a future cinematic classic here.
8,5/10
The Trial of the Chicago 7—man, talk about a heavy hitter. It’s one of those movies that just stays with you, you know? Like, you sit there watching all that legal tension unfold and you can't help but wonder how much of it actually plays out like that in real life... though I guess history tells us it was even messier. It’s such a whirlwind of political chaos and courtroom drama, and honestly, it makes you think about how much things have changed—or maybe how little they've changed at all? It’s intense, it’s fast-paced, and it really hits you right in the gut. Just one of those films that forces you to sit with the uncomfortable stuff.
Seriously though... we’re talking about the true story behind one of the most shameful trials in all of human history!!!
Back in '68, you had all these political activists, hippies, and hardcore pacifists hitting the streets in massive protests against the Vietnam War. It was intense—everything just kind of boiled over into these brutal clashes between the police and the protesters. Then, out of nowhere, the government drops an indictment against eight people—later narrowed down to seven—charging them with conspiring against the government. Can you even imagine? Just total chaos.
Most of the movie plays out inside a courtroom, peppered with these quick flashbacks that pull you back to the day of the protests. Since I’ve always leaned pretty heavily toward pacifist and anarchist views myself—it wasn't even a struggle to connect with the main characters—I ended up just powering through the whole thing in one sitting. It’s honestly a masterclass in showing how rigged a political process can be; they basically had the verdict decided before the trial even kicked off. I have to admit, watching the sheer injustice those people faced during the proceedings was incredibly frustrating. And then there’s the racism element... it hits its peak during that scene where the judges order the only Black defendant to be tied to a chair and gagged—which, by the way, actually happened in real life (I did a deep dive on Wikipedia to make sure). You can see some parallels to what’s happening in the US today with police brutality, which gives the film a bit of a political edge, though it doesn't feel over-the-top or preachy. As for that final scene? Absolutely perfect. Even if it didn't happen exactly like that in reality, man, it still packs such a massive emotional punch.
The acting in this one was just masterclass level—seriously. I mean, everyone was incredible, but honestly? I wasn't expecting Sacha Baron Cohen to absolutely steal the show like that. He basically owns every single frame he’s in. It really goes to show those people who doubt him that he can kill it just as easily in serious roles as he does in comedy... which is perfect here, since his character kind of dances right between the two. Truly impressive stuff.
8,5/10
So, I finally sat down and watched Promising Young Woman... and man, where do I even start? It’s one of those movies that just sticks in your throat—in a good way, I think? Or maybe a scary way? It’s hard to say. It’s just... intense. You go in thinking you know exactly what kind of thriller you're getting, but then it twists and turns and hits you right in the gut when you least expect it. Honestly, it’s such a wild ride. Does anyone else feel like they need a long walk after watching something like this just to process everything? It’s definitely not your typical popcorn flick, that's for sure.
So, the movie kicks off with this group of guys hanging out at some club, just venting about their wives and all that—you know how it goes—and then they spot this one woman who is absolutely wasted, like, barely even able to sit upright. One of them decides he’s gonna take her home, which honestly sounds like a disaster waiting to happen, right? He gets her back to his place, tosses her onto the bed while she's still passed out, and starts trying to undress her. At that point, everyone watching is thinking, "Oh great, here we go... he's actually going to assault this poor girl." But then—get this—out of nowhere, she just bolts upright. Suddenly, the prey becomes the predator. Total shift in energy.
So, there's this character named Cassandra—she’s 30, pretty much a loner, doesn't really get along with her folks at all—and she has this wild, recurring weekend ritual. She goes to clubs and acts like she's absolutely wasted, just totally trashed, hoping some guy will try to take advantage of her... but here's the twist: if he actually tries anything while she's "drunk," she completely shuts him down. Like, she handles him—how exactly she does it, though, I don't know because they don't show us, but you get the idea. Is she doing this just for the hell of it? For pure entertainment? Of course not. There’s a much deeper, more serious reason behind why she behaves this way, and the movie slowly peels back those layers to reveal what's really going on.
I gotta be honest—I had such high hopes for this one, but man, what a letdown. Carey Mulligan is absolutely incredible; her performance is basically the only thing saving this whole movie. But when you’re dealing with a subject matter this heavy and sensitive? The film just feels... I don't know, shallow? It’s kind of lukewarm, lacking that raw emotional punch you really expect from a story like this. It feels like it's trying to be too many things at once—like, is it a socially conscious drama, a rom-com, or a psychological thriller? You can't really mash all those together and expect them to click. I respect the concept, I really do, but the execution just wasn't there for me. The only bright spot was the ending—though, full disclosure, I was a little lost as to what actually went down—but it definitely helped pull the whole experience up from being a total wash.
6/10
For the most part, everyone nominated looks great except for PYW, so I think the ceremony is going to be pretty unpredictable. I'll check out the International Feature nominees over the weekend and see what's up.
