Ten is not a set number for the number of Best Pictures nominees. Nevertheless it’s still nice to have ten as the total of nominees.

This year, there are a wide variety of films nominated from science fiction to two musicals to a musicography to a dark comedy to a horror movie to many types of dramas. Here  are my first two reviews of the Best Pictures nominees:

This is quite the unexpected comedy that delivers an unexpected sad ending. A sad ending was anticipated but the sad ending we got was not the one anticipated. It seems odd to have a story about a stripper/hooker marrying a rich kid to be one of the best films of the year but Sean Baker has developed a reputation for directing films about people in the sex trade. This is quite the story itself. We have a stripper who plays a ‘love kitten’ day after day for lusting men, but craves real love. We have a billionaire’s son who’s too spoiled, immature and careless to get it about life and love. He thinks marrying Anora is easy like that and he can live the same irresponsible life again, but he has a lot to learn. We have Igor, the henchman hired by the Zacharovs to have the marriage annulled, but Igor becomes the first person to see Anora as a human being throughout this whole ordeal. We also have the Zacharovs who are so obsessed with their money and power, they think they can do whatever they want. This is the kind of story that brings a lot to the table to talk about.

It’s hard to pinpoint the exact theme of the story because there’s so many topics and themes this story presents a point about. One could be the theme of sex workers. As I mentioned, Baker’s films often deal with sex workers. Here we see the case of a sex worker who is treated like a piece of meat and there are times her true feelings are shown. There are moments we stop seeing Anora as ‘this thing’ and start seeing her as a person. There’s also the case of wealth and privilege. Not only do we see wealthy people having the best luxuries but we see them having a privileged son living a careless irresponsible life, we see how the rich devalue marriage both with Vanja’s eloping of Anora and the Zacharov’s own marriage, we see how being a henchman to the Zacharovs means having to leave a christening of your godchild because your boss demands so, and we also see how the rich Zacharovs know that their money gives them power and uses it against Anora. Especially when the mother insists the family doesn’t apologize to anyone just as Igor points out Vanya owes Anora an apology for the eloping. It’s quite the irony when a stripper or prostitute has a better sense of what marriage is all about than a billionaire’s son. Or even his parents.

Often overlooked, I feel one of the top themes in the film is love. We have Anora, a stripper who pretends to love the men she sleeps with, but she craves real love. We have Vanya, whom Anora thinks she found love with as she spends weeks with him and easily falls for his marriage proposal. Anora is oblivious Vanya wants to marry an American so he doesn’t have to return to Russia and work his father’s business. Even the scenes as Vanya’s playing video games after the two marry hinds at Vanya’s irresponsibility. We also have Anora’s delusion with the marriage. Even though Vanya continues to play video games after they marry, she still thinks she met her love. We have the Zacharovs who view their son marrying a sex worker to be a disgrace to the family. We also see scenes which make you question the Zacharov’s own marriage. Finally we have Igor who becomes the first person to see Anora as a human being instead of ‘that thing.’ It was made obvious in the scene where Igor says Vanya owes Anora an apology. That ending where he allows her to stay at the Zacharovs one last night to sleep, bathe and pack and the ending scene as he’s about to drop her off is also an irony. He’s first hired as a henchman to stop the marriage, even if it means brute force, and now he actually has feelings for Anora. A shock to us all, and to a disheartened Anora as well.

This is the big breakthrough film Sean Baker has been waiting for. The film world has known Baker for a long time as one knocking on the door. He’s delivered small breakthrough films before with 2015’s Tangerine and 2017’s The Florida Project. Here, he directs a story that’s intriguing and unpredictable. It first seems like a film that would give us a cartoonish story but as the film progresses, the story is a lot deeper and it’s not the story we thought it was. Also worthy of top acclaim is lead actress Mikey Madison. If you thought you’d never shed tears for the character of a stripper, you will be wrong. It’s remarkable we have a film where the character of a stripper is shown to have real three-dimensional feelings, but Mikey’s performance of Anora was deep and revealing and we actually start feelings for her. He go from seeing her as ‘that thing’ to seeing her as a frail hurt person. Also excellent is Yura Borisov. Nobody expects any of the henchmen to have feelings for Anora, but Yura catches us by surprise. It’s also he who makes the movie into something we didn’t expect. Also good is Mark Eydelshteyn in playing Vanya. His portrayal as an immature irresponsible spoiled rich son makes you want to hate him in the end. Both Aleksey Serebryakov and Darya Ekamasova are great at Vanya’s parents. They also succeed in making you hate them as much as you’ll hate Vanya. We can see why Vanya is a spoiled brat.

Anora is not your typical story of a prostitute or a stripper. It’s a story of a love gone wrong and ends with a love you don’t know if it should be. Those who see it won’t forget it.

We’ve seen stories about the difficulties of achieving the American Dream before. Some are harder than others. This film takes a cynical look at an architect who achieved his American Dream. We have a Jewish architect who left post-Holocaust Hungary to find refuge in the United States and achieve his success there. We see how he has to fight his demons like his infidelity, family members that are petty, harrowing memories that cause him to take heroin, a difficult market for his Bauhaus style, rival architects, people that want to use him and above all, his own egotism. It’s not at all a pretty sight to see but it does tell a good story of a man hoping to pursue his greatness in the United States.

The thing that makes this film is not just the telling of Laszlo Toth’s story, but how it’s presented. The film begins as Laszlo’s ship sails past Ellis Island and he sees the Statue Of Liberty, but from his angle, he has to look at it upside down. He has to struggle to achieve his dream by eating at soup kitchens, living at the YMCA, embraced and then neglected by a family member who’s a successful business man, and having to prostitute himself at times. His breakthrough comes by fluke as it was the renovation unapproved by Harrison Van Buren where they first meet, and the meeting is bad. It’s after Harrison discovers who Laszlo is and of Laszlo’s pre-war success in Hungary that he’s willing to take him on. It’s not an easy task as it involves years of work and labor, supplies cancellations, dirty work form Harrison, his friendship with Gordon put to the test and Laszlo’s own ego coming to light. Then there’s how Laszlo’s attempt on success threatens his marriage to Erszebet as she has now arrived in the United States. She knows his secrets and she says she’s fine with it, but it will become obvious she’s not. His success threatens family unity with the niece as the daughter adopted after the Holocaust.

The crazy thing about the film having a half-hour intermission may have some question its purpose. We should remember many decades ago, it was common for long movies to have intermissions. This film’s intermission is very successful not only in dividing the movie properly, but give you the feeling you’re watching two different films. The first half focuses on Laszlo’s arrival, his attempt to make it in the United States, the dirty obstacles he has to face and his big break. And right while he’s writing to Erzsebet with the hopes of her coming to the United States. At the end of the intermission comes a new scenario. As Erzsebet finally arrives in the United States with niece Zsofia, there’s the added pressure of keeping a family together. Especially since Laszlo can’t keep his secrets to Erzsebet any more and she has a disability to deal with. Over time, she senses things like Laszlo’s ego and how Harrison wants to make a pet out of him. Despite being confined to a wheelchair, Erzsebet is able to muster the strength to use her walker to confront Harrison about his mistreatment of Laszlo. The ending epilogue is also something as Laszlo is saluted for his work, in Italy. It’s like he achieved his American Dream but had to achieve it at a harrowing cost and he had to get his honor from outside the US.

This is an accomplishment from Brady Corbet. Younger adults may remember his teen actor days in films like Thirteen and Thunderbirds. Like a lot of young actors, Corbet felt the need to make films of his own. This is Corbet’s fourth feature film. This film that he directs and co-wrote the story with wife Mona Fastvold is definitely something. It mixes some classic film styles while telling the story of a Holocaust survivor’s pursuit of the American Dream. There have been films where the American Dream has been achieved at a big cost before, but this film meshes Laszlo’s pursuit with the shaping of the United States and most notably Pennsylvania after World War II. As the US shapes itself after the war, Laszlo attempts to shape his success in the US, but at a huge price that comes at the cost of him, his dignity and his marriage. Right at the end as they have the tribute gala in the epilogue, you wonder if this should be a happy occasion or not with what Laszlo has gone through.

Excellent performance from Adrien Brody. Remember him from 2003’s The Pianist? He appears to have kept it low-key since. This year, he comes back with another performance of a lifetime where he shows Laszlo to be a creative man and a troubled man. He will make you hate him as much as he will break your heart. Also great is Felicity Jones as Erzsebet. It’s the appearance of Erzsebet that most turns this film into two films in one. With her arrival comes the change of environment. She appears to be one who will most interfere with Laszlo’s success and even a victim of his own selfishness but in the end, she’s the best person Laszlo needs during his most troubling time. Guy Pearce is also great as the deceptive Harrison. He’s excellent in portraying an all-American businessman who welcomes Laszlo and his talents, but as long as something’s in it for him and is willing to make a toy of Laszlo. Additional excellent acting comes from Raffey Cassidy, as the niece Zsofia who’s mute at first but soon develops her ability to talk, and from Isaach de Bankole as Gordon, Laszlo’s first friend and business associate who Laszlo later turns on in his success. Excellent technical merits are the cinematography of Lol Crawley, the production design of Judy Becker and the musical score from Daniel Blumberg.

It’s easy to see why The Brutalist is a heavy favorite to win Best Picture. It combines a graphic disturbing story of one man’s pursuit of the the American Dream and shows it in a stylish artistic fashion. Hard to outdo it.

And there’s my look at the first two Best Picture nominees for this year. If you’ve seen them, you can understand why they’ve won most of the Best Picture awards.