The battle for awards season supremacy is heating up, and it’s not just about the Oscars. While Sinners made headlines as the first film to snag 16 Oscar nominations, it’s One Battle After Another that’s stealing the spotlight at the BAFTAs—but only just barely. Paul Thomas Anderson’s quirky counterculture comedy edged out Ryan Coogler’s gripping vampire thriller with 14 nominations to 13, setting the stage for a fiercely competitive awards season. But here’s where it gets controversial: does this narrow victory signal a shift in audience preferences, or is it just a blip in the radar?
Trailing closely behind are Marty Supreme and Hamnet, each with 11 nominations, while Frankenstein and Sentimental Value secured eight nods apiece. The real surprise, though, came from I Swear, a British comedy tackling Tourette syndrome, which earned five nominations, including a Best Actor nod for Robert Aramayo. Meanwhile, The Ballad of Wallis Island and Pillion, a BDSM biker romance set in Bromley, each scored three nominations, proving that British cinema is far from predictable.
And this is the part most people miss: the BAFTAs’ acting shortlists include six nominees per category, unlike the Oscars’ five, which allowed for more inclusive recognition. High-profile snubs were notably absent, though Wicked: For Good still missed out, much like its Oscar shutout. However, it did secure nods for costume design and hair and makeup—small wins, but wins nonetheless.
Speaking of snubs, A-listers like Jennifer Lawrence (Die My Love), George Clooney (Jay Kelly), and Dwayne Johnson (The Smashing Machine) were left out in the cold. Meanwhile, Leonardo DiCaprio’s seventh Best Actor nomination ties him with legends like Michael Caine and Daniel Day-Lewis, but will he finally break the record? Or is Timothée Chalamet’s performance in Marty Supreme the one to beat?
Aramayo, the dark horse in the Best Actor race, is poised for a career boost with his portrayal of Scottish Tourette syndrome campaigner John Davidson in I Swear. The film’s success, according to BAFTA chair Sara Putt, reflects a growing appetite for “authentic, lived experiences that resonate deeply.” But is this enough to challenge the dominance of Sinners and One Battle After Another, which seem to be tapping into something universal in our fractured world?
“These films elevate genre filmmaking,” Putt told The Guardian, “blending thought-provoking storytelling with blockbuster appeal.” Yet, despite the celebration of homegrown talent—with nods for Emily Watson, Carey Mulligan, and films like Pillion and Wallis Island—this year’s leading acting and directing nominees are overwhelmingly non-British and male. Only two directors of color, Ryan Coogler and Chloé Zhao, made the cut, with Zhao being the sole woman.
This raises a critical question: are diversity initiatives like BAFTA’s 2020 overhaul enough, or do we need bolder steps to level the playing field? The Oscars’ new casting award and mandatory viewing requirements are a start, but will they truly move the needle?
As the BAFTAs approach on February 22, hosted by Alan Cumming, and the Oscars follow on March 15 with Conan O’Brien at the helm, one thing is clear: this awards season is as much about the films as it is about the conversations they spark. So, here’s the question: Are we celebrating the right stories, or are we still missing the mark? Let’s hear your thoughts in the comments—agree or disagree, the debate is wide open.
