the best pictures of 2024 not nominated for best picture
every year, the oscars get it wrong
The Oscars get shit every year for not nominating some of the most popular or deserving films. Since the ceremony’s inception in 1929, the best picture category only housed five possible nominees. With hundreds of eligible films every year, the Academy consistently receives backlash for only including a small margin of them. Finally, in 2009, the Academy announced that they would be expanding the best picture category to 10 films. At the time, AMPAS president Sid Ganis stated that this would allow for more films to be recognized and celebrated. And rightly so.
However, this wouldn’t exactly stop critique. For many years they weren’t even filling the ten film limit they set for themselves. Since the expansion was announced, there have been 16 Academy Award ceremonies. Only six of these ceremonies had 10 films in the best picture category. Six of these years had nine nominees, and four had only eight. With so many deserving films every year, why not include one or two more?
All 10 spots were filled at the 2022 ceremony, with the following years maintaining suit. Yet despite this, some would argue (including myself) that some films are still being left out. It seems hard to pick just a few films that are deserving of being in contention of best picture; possibly even harder to then choose just one.
Now, some of you may be saying to yourself: “Who cares! The Oscars are rigged! The Oscars don’t mean anything anymore!” I’ve seen these sentiments around the internet for years, but here’s my argument:
After Parasite won in 2020, the South Korean thriller was expanded to 2,001 theaters. It went on to experience a 234% increase in box office sales. In total it grossed about $53 million in the end, a massive result for a foreign language film in the states.
Similarly, Barry Jenkins’ Moonlight was widely unknown leading up to its awards season success. After it’s best picture win (along with the controversy I’m sure we all know), the film was expanded to 1,564 theaters and experienced a 260% box office increase with $2.5 million in the first weekend after the ceremony. The film had previously opened to only 4 theaters, peaking at 650.
A best picture win, or even a nomination, can shine a light on films that the general public may not have heard of. It allows films to enlarge their audiences, or perhaps introduce people to new ideas, new cultures, new filmmaking styles, etc. We may not like who the Academy chooses to nominate, not nominate, or ultimately award, but we can’t deny that they do still hold resonance with the general public.
This years nominees are already experiencing this “awards season boost,” but what about the films that haven’t been nominated? Or rather, were snubbed from the season altogether. Aren’t they deserving of recognition?
They sure are, and I’m here to give that to them.
I know, I know…you’ve all been waiting for this moment. Not all heroes wear capes.
*This is gonna be so long by the way, so I understand if you just skim the rest of this lol.
Undoubtedly, there are incredibly deserving films nominated in the best picture category this year. Some of my favorites are I’m Still Here, The Substance, Dune: Part Two, Conclave and The Brutalist. And like every year, there are some films I’m not so sure deserve to be up there…COUGH COUGH Emilia Pérez COUGH COUGH. This list rather, is dedicated to the films that may not have necessarily made it onto my top 10 of the year, but were definitely on the shortlist. Films that I believe still deserve some of that awards season boosting effect too! Or perhaps deserve to have taken Emilia Pérez’s spot.
Just like the Oscars, I decided to include 10 films in my list (in no particular order). Now let me tell you, this was so hard. 2024 was a great year for film and there were so many that deserve recognition for their accomplishments. It took me days to whittle down my picks, and I’m still not even sure I got everything on there that I wanted to. Of course, I had to make some cuts, so before we get into it, here are my honorable mentions:
A Different Man
Problemista
Heretic (really only here for Hugh Grant)
Better Man
A Real Pain (I know its an Oscar nominee but not for best picture!?)
The Apprentice (see above lol)
Babygirl
All of these films feature stellar performances, scripts, direction and always leave you wanting more. They may not have made it on my main list, but they are definitely worth checking out!
Now that we’ve got those out of the way, here is my official picks of movies the Oscars forgot. Feel free to disagree:
Queer
The lost Luca Guadagnino film of 2024. Before sitting down to watch this one, I saw a lot of mixed reviews online after its Venice Film Festival premiere. I think most people were expecting a “straight-forward” gay love story, more like Guadagnino’s previous film Call Me By your Name. Rather, Queer is a surrealist tale of a man’s craving for romance and quest for self-acceptance. Daniel Craig is phenomenal and is truly giving one of the best performances of the year. He pulls you out of the audience and takes you on this dream-like journey with him. Guadagnino’s stunning visual language leaves its multi-interpretation plot up to the audience, allowing for the complex human nature he and writer Justin Kuritzkes portray, to speak for itself. It’s fantastically shot, with some sequences feeling almost hypnotic. There’s a shot with Nirvana’s “Come As Your Are” overlayed towards the beginning that took my breath away. It’s haunting and deeply moving, and whether or not it deserves awards praise is subjective, but it definitely deserves to be seen.
I’m not queer, I’m just disembodied. This heartbreaking line still echoes in my head, even now.
Blitz
Steve McQueen’s poignant film about the London Blitz during WWII follows a young boy sent out of the city by his mother for his safety. Desperate to return to her, Blitz details George’s odyssey home. This film had me consistently on the edge of my seat. The story, as well as its period setting, is full of uncertainty and tension. Through George’s eyes, we get an intimate look at how this devastation changes his view of society and his mother. McQueen’s choice to detail this time period from the innocence of a child made the whole film more effecting and personal. Not to mention, Elliott Heffernan gives a touching and heartfelt performance as George. His abilities suggest a hefty background in acting, yet this is his first film. Saoirse Ronan is terrific as always and acts as the perfect centerpiece to the film as a whole. To me, it seemed as if this movie was barely marketed, and I can’t really imagine why Apple didn’t try harder for it. The WWII genre can often feel repetitive in the current film climate, but Blitz dares to be original. And therefore, I dare you to watch it.
Challengers
This was a given. It truly shocked me to learn that this film had absolutely no nominations. Not just at the Oscars, but at most award shows this season. I think everything I have to say about this one has already been widely said, so I’ll keep this brief. The script, the acting, the cinematography, the direction, THE SCORE. Everyone who worked on this was on their A-game. I’ve seen this film three times now and every time I watch it, I get something new out of it. It’s the gift that keeps on giving. It’s incredible how much character is on the page of each script, but also how brilliantly our three lead actors portray them and expand on them. Everything about it is intoxicating. Power, greed, ambition, love, repression, TENNIS. It’s insane that this was snubbed and I’ll never shut up about it.
The Last Showgirl
This movie is like a hug, a big warm hug. Pamela Anderson guides us through this gorgeous character study of a Vegas showgirl whose show is coming to a close. Pamela is terrific of course. I love how it was shot, how it uses its Vegas backdrop, the supporting performances, the poignant story and just the overall vibe. There’s not necessarily a structured plot, which I saw annoyed some Letterboxd reviewers. Although, I didn’t mind at all. This film is built around Pamela Anderson’s character Shelly. From the get-go, you can tell exactly who she is, and it’s impossible not to fall in love with her, even if you don’t always like her choices. Anderson demands your attention, and without her in the role, I’m not sure this film would’ve worked. She invites us with open arms into Shelly’s life. I don’t think most audiences would think a Vegas showgirl movie could reflect their own lives so vividly, but Gia Coppolla’s script suggests that maybe the need to feel timeless is something we all desire. And perhaps in our own ways, we all are.
Blink Twice
As the credits came up in the theater, I felt numb. I was silent. Zoë Kravitz blows the roof off with her first feature that explores the violent side of the female experience. It’s not subtle in letting audiences know what its trying to say, but it’s not preaching at you either. It’s funny and sharp, but it’s also frightening and tense. It’s a brutal message to portray, particularly towards the end, but its still able to keep up with its elevated tone. The out of pocket setting and situation set this one apart from other films on this topic early on as well. The unconventional story and mode of exploring its themes make it an easily digestible message for mass audiences.
I want to particularly shine a light on Kravitz’s exploration of the effect the older generation of women have created. It’s something I don’t typically see in films covering this topic and I loved how she portrayed it here. A lot of older women unfortunately grew up with different, and frankly sexist, principles towards the relationship between womanhood and its place within the patriarchy. In turn, its encouraged a culture centered around the practice of victim blaming, particularly targeting the younger generations of women. Kravitz manages to tackle this and the larger theme at play, in an ultimately satisfying way. With an excellent supporting cast, great soundtrack and a oddly hilarious script, I can’t recommend this movie enough.
Men ain’t shit.
Kinds of Kindness
I know this is gonna be slightly controversial, but I don’t know guys I just LOVED every minute of this. It’s hard to describe Kinds of Kindness. It's irreverent, shocking, funny, odd, disturbing, and many other types of shock-value words. Featuring the same ensemble of actors throughout, Yorgos Lanthimos tells us three different tales, all with the interlocked theme of what you would do for love and acceptance - and what happens when people take advantage of that. Its initial Cannes buzz faded in the months after its June release with most audiences leaving the theater puzzled and bored. In fairness, it does have a demanding runtime of 2 hours and 44 minutes. If Lanthimos’ deadpan, bizarre style hasn’t worked for you in the past, then I’d say maybe avoid this one. Although, if you’re a Killing of a Sacred Deer or The Lobster fan, this one may be for you. This movie is full of incredible freaky performances, bolted down by an even freakier plot.
Hope R.M.F. enjoyed his sandwich.
The First Omen
It’s pretty rare that a prequel film goes this hard. The First Omen follows the birth mother of devil incarnate Damien, and her journey with faith after beginning to uncover secrets within the church. This movie is tantalizing, creepy, and completely engrossing. Arkasha Stevenson delivers a stunning feature debut that continues but also delves deeper into the questions the original Omen film asks (unlike its bizarre sequel series; iykyk). The First Omen most importantly explores pregnancy, which these days can feel like a horror movie itself. Stevenson’s use of horror and religious visuals to raise these elements is beautifully horrific. Nell Tiger-Free’s impressive lead performance is gripping. I often think of her insane contortion work in the birthing scene. This film also looks stunning, using its settings and religious iconography to its full advantage. Watching this film in a theater felt like a religious experience in itself. I don’t want to say too much about this film because I really really hope you’ll give it a chance. I will say though, if Immaculate wasn’t your thing, I’d try The First Omen instead.
Kneecap
It’s an actual crime that Kneecap didn’t take one of the five Best International Feature spots this year. Loosely based on the making of the rap group of the same name, Kneecap tells the story of a schoolteacher named JJ who meets Naoise and Liam in police bookings one night. Through a series of outrageous events, the three form a rap group in an effort to save their native language in Northern Ireland. It’s hard to know which parts of this story are true, but some are so bizarre that they must be fake. I guess we’ll never know…
Everything about the film feels so singular; from the direction, to the editing style, to the actor’s magnetic performances. The band’s unique voice shines brightly throughout, mostly because the band members are playing themselves. And let me tell you they are GOOD. Their hilarious and dynamic performances are the reason this film endears itself to its audience from minute one. This is all three of their first times acting, and it’s incredible to watch them fully hold their own against heavyweights like Michael Fassbender.
If you don’t know Kneecap’s music, I would highly recommend it. The cause that they’ve devoted themselves to, and that their film covers, isn’t talked about nearly enough. The Irish language is slowly disappearing, which is especially scary in Northern Ireland. My personal favorite tracks to check out are “H.O.O.D.” (which can be heard several times in the film) and “I bhFiacha Linne.”
When the credits rolled, I felt very proud to be Irish. Tiocfaidh ár lá, get the Brits out lad!
We Live in Time
I saw this movie by myself in a theater that was just me and a group of middle-aged women. At one point, I was violently sobbing and they all turned to look at me slightly annoyed. And I would just like to say…why were you not crying too? It’s actually insane of you to cast judgment on me. We were watching the same scene, and you were just unbothered? That’s crazy.
A romance movie where one of the characters is diagnosed with a terminal disease and the leads then have to make the most of their last days together. It’s a story you’ve probably seen on screen before. But what makes We Live In Time feel so different is its use of nonlinear storytelling. We know Florence Pugh’s Almut has already passed within the first few frames of the film. What plays out, feels more like Andrew Garfield’s Tobias’ stream of consciousness. An array of memories, good and bad, projected out of order, as our memories typically play out in our heads. This narrative choice completely endeared me to this film, not to mention Pugh and Garfield’s fantastic performances. Brilliant chemistry and a romantic and heartrending script paired with John Crowley’s intimate direction make this a unique film that will surely make you sob.
Unless you're those ladies in my theater, oh my god.
Longlegs
THIS IS JUST FOR ME OKAY, I WILL NEVER STOP TALKING ABOUT THIS MOVIE!!!
After my first viewing of Osgood Perkins’ unsettling film, I felt like my life had just been changed. I sat in my car in total silence, staring into space for about 10 minutes. I wasn’t sure if I totally understood what its messaging was yet, I had my theories, but was still contemplating. What I did know though, was that I was completely taken by it. Later that day, I was still trying to figure out what it all meant when I stumbled upon a Nicolas Cage interview about the film:
I think it was, when I first met him [Perkins], we sat at the Polo Lounge believe it or not. And the first thing he said to me, he just sort of blurted it out, ‘this is a movie about my mom.’ - Nicolas Cage for AP
Everything clicked for me in that moment. I think its important, if you haven’t seen the film, to take that knowledge, watch the movie and then come up with your own conclusion. For me, the message is clear, and after four more trips to the theater to experience it, I got something new out of it every time. And not just new hidden devil sighting. That’s the most exciting part of a re-watchable movie: the endless discovery.
I truly believe the intense marketing campaign ruined this movie for some audience members that went in expecting something different. The marketing campaign implied a dark, gritty psychopathic movie, similar to Silence of the Lambs. Instead, people got a dark, gritty, psychopathic movie with lots of surreal, supernatural elements. I think its use of demonic, devil imagery and the weight it bears on the plot really turned some people off of it. As one friend said to me “it being the devil in the end just feels like a cheap cop out.” Its true, we do see the devil’s presence in a lot of modern day horror, so its use here can in turn feel cheap. But for me, it’s the meaning it carries and how Perkins delivers his theme to us that counts. It feels good to see an original horror film of substance in the year 2024, especially one thats also effectively terrifying. Alicia Witt’s haunting final line in that last scene still weighs in my brain….
Not to mention, a fantastically freaky performance from Nicolas Cage, who is used just the right amount in this film for all of the over the top acting he’s doing.
So pleassseeeee go see this if you can. I know its not everyones cup of tea, but if you’re a freak like me, you’re going to love this.
Welp, thats it everyone. Once again, if you made it all the way to end of this, you’re crazy for that. I hope you take the time to check out some of these films, and maybe even fall in love with some of them like I have.
And if there’s a movie not listed here that you think I missed and deserves to be highlighted, please comment it! I want to discover some new stories too!!
Until next time:)