Author: Jack Salvadori.

Hollywood finally pulled it off. For once, the Oscars season didn’t feature any seismic snubs, head-scratching upsets, or infamous “Hollywoops.” The Academy didn’t trip over its own feet and fall flat on the Dolby Theatre stage. This year’s winners made sense, with choices that, decades from now, won’t leave cinephiles screaming, “HOW DID THAT WIN?!”

The biggest headline of the night: Anora swept the awards. Sean Baker, the mastermind behind this indie gem, walked away with four Oscars: Best Picture, Best Director, Best Original Screenplay, and Best Editing. His victory not only broke the record for the most individual wins in a single night but solidified his status as the undisputed champion of American indie cinema. While The Brutalist may have been the more “serious” contender—epic in scope, meticulously crafted with artistic precision that practically screamed for awards—Anora delivered heart, humor, and a perfect blend of accessibility and auteur sensibility (not to mention, it was an hour shorter, which certainly didn’t hurt). It’s a story about human beings navigating a messy, beautiful, and often absurd world—a modern-day Cinderella-esque fairy tale that, of course, resonated deeply with audiences.

More importantly, Anora is quintessential Baker—a continuation of his decades-long exploration of ‘sex work’, marked by an anti-stereotypical narrative. Crowning him this year feels like the rightful recognition of his entire career, further cementing his unique voice and essential presence in modern American cinema. Baker is an artist who fights for right causes, such as celebrating the purity of filmmaking, and advocates for the sanctity of cinema—ensuring that movies are watched where they truly belong: in theaters.

But Anora’s sweep didn’t stop there. The film’s lead, Mickey Madison, took home Best Actress in what might have been the most unexpected—but entirely deserved—win of the night. Everyone assumed Demi Moore was already halfway to the stage, with her career now embracing an unexpected renaissance. But look, Madison’s taking home the little gold man makes sense, as the Academy loves crowning its next star while she’s at her most castable. The real question now is not why Moore lost, but rather what Hollywood will do with her next. If, following The Substance, they let her slip into the cinematic void without offering her more substantial roles, that will be the real tragedy.

Of course, no Oscars would be complete without at least one misfire. Conclave won Best Adapted Screenplay—a win that left many scratching their heads. Giving an Oscar to an adaptation of what is, at its core, an airport novel? That makes it an airplane movie more than a prestige contender. Anyway, the bigger takeaway from this year’s ceremony is what the Academy is choosing to reward—and where it may be heading. Baker’s victory signals that small budget, indie cinema, when done right, can go toe-to-toe with the glossy, Oscar-bait prestige pictures.

In the end, the Oscars got it right this time. Here’s to hoping that this momentum continues.

 Jack is an Italian-born, London-based film critic, columnist, and filmmaker. With award-winning short films showcased at over 60 international festivals, he’s now developing both, a feature film and a theatre play. A familiar face at Cannes, Venice, and London Film Festivals, Jack spends most of his time at the BFI, watching everything from old classics to niche gems. He lives in London with his cactus.