THE OSCARS THROUGH THE YEARS

The following is NewsBreaks’ coverage of previous Oscar seasons:

2018: “Oscar Nominees Through a Librarian Lens”

2019: “Librarians Discuss the Oscar Nominees” | “The Oscars at the Library” | “Why Librarians Love Movies”

2020: “A Librarian Looks at Oscars 2020: The Same, but Different”

2021: “A Librarian Takes on Oscars 2021: The Diversity We Deserve (From the Year That We Didn’t)”

2022: “A Librarian Looks at Oscars 2022: Inclusive Stories, Exclusive Access”

2023: “A Librarian Looks at Oscars 2023: Blockbusters, Big Names, and Underrated Gems” | “Celebrating Oscars 2023 at the Library”

2024: “A Librarian Looks at Oscars 2024: International Diversification Finally Bears Fruit” | “The 2024 Oscar Season at the Library”

2025: “A Librarian Looks at Oscars 2025: The Good, the Bad, and the Ugly” | “The 2025 Oscar Season at the Library”

Don’t miss additional coverage for 2026: “A Librarian Looks at Oscars 2026: An Emotional Smorgasbord.”

AT THE LIBRARY

Haley Rogers and Brittany Ploep, adult services librarians at Harrison Township Public Library in Michigan, are hosting an Oscars Voting Competition running Feb. 23–March 14. “Patrons can pick up a form with the list of nominees from a small display that we will set up in the library. Once they select their Oscars predictions, they can turn the form back in. After the Oscars ceremony airs, we will go through each form—whoever predicted the highest number of correct winners will receive a movie-themed gift basket,” Rogers and Ploep share.

Rashmi Swain, adult education and career services librarian at Oak Park Public Library in Illinois, says her library will host its 16th annual Oscarthon on March 7 and March 14. “In addition to showing nominated movies, the library will provide popcorn and raffle prizes,” she notes. As of this writing, Swain is in the process of deciding the lineup of movies depending on what’s available on DVD or Blu-ray. Also, Swain says that she’s continuing her own personal record of screening only those films that she has already watched.

Dan Barbour, programming and marketing librarian at Burlington Public Library in Massachusetts, coordinates the Sunday Cinema series, which is in its third year. Each Sunday in February, the library shows a film nominated for Best Picture—this year the selections are F1, Bugonia, and One Battle After Another—along with one “snubbed” film with no nominations; this year’s is Wicked: For Good. “I believe film events offer valuable opportunities for community engagement that are often underutilized by libraries. The Oscars specifically have been our highest-interest film programs of the entire year, and for a mid-size library, having 40 people share the space and then discuss some of the year’s most talked about films is so fun,” Barbour says. 

Joe O’Brien, adult services and acquisitions librarian at Livingston Public Library in New Jersey, has about three movie screenings a month throughout the year. “We’ll always schedule at least one screening of each Best Picture nominee that we’re legally permitted to show. (Sadly, due to Netflix’s unfriendly policies toward theaters and public screenings, we won’t be able to show Frankenstein or Train Dreams.) Whenever possible, we also try to screen nominees for Best International Feature and Best Documentary Feature, or movies that may not have been nominated for Best Picture but received nominations/wins in other major categories,” they explain. This year, the library has already screened Bugonia, and Sinners was shown in August 2025. “Only 10 people showed up to each of those, compared to our usual average of about 25 attendees, since our community isn’t generally into darker and scarier films,” O’Brien says. “But if the Best Picture nominations spark people’s interest, then maybe we’ll try them again later this year.”

Dan Lodge, library supervisor at Dearborn Public Library in Michigan, hosts an annual Oscar Contest. “The Grand Prize will be a nice basket filled with movie candy and popcorn, a DVD of the new Superman movie, and a couple of passes to a local movie theater,” he says. In addition, Lodge is hosting an in-person talk with Oscar nominee John Sayles about his new novel, Crucible, and a virtual talk with author Paul Fischer about his new history, The Last Kings of Hollywood. Click on the images in the upper-right corner of this article to view the event fliers.

Adriana Alvarez, assistant manager of studio services at Fountaindale Public Library District in Illinois, says her library celebrates the Oscars “by creating displays putting together collections of movies and books. We culminate with the Oscars Trivia Night, a fun time filled with challenging trivia, snacks, and prizes. I am busy coming up with challenging trivia, and we always have the Oscars Ballot grand prizes as well.”

Patrick, a librarian overseeing Oscars programming at Westhampton Free Library in New York, says, “We are planning on holding an Oscar ballot competition where patrons can predict who they think will win the awards to bring home their own movie-themed prizes.”

BOOK BUMPS

A few Best Picture nominees are based on books: Frankenstein by Mary Shelley, Hamnet by Maggie O’Farrell, and Train Dreams by Denis Johnson. One Battle After Another is loosely based on Vineland by Thomas Pynchon. 

O’Brien notes that all of the titles on this list that their library offers are currently checked out, but they’re not seeing a significantly higher demand for any of them. Rogers and Ploep aren’t noticing any higher demand either, but they expect this could change as it gets closer to the Oscars. Lodge, however, has seen increased interest in all four. “There are several holds already for Hamnet, and I had to put a hold on our copy of Train Dreams so that I can add to the display to promote the Oscar Contest,” he notes.

“Hamnet seemed to get the biggest bump,” Barbour says. Swain is seeing the same thing: “Hamnet has nine holds, and systemwide (we belong to a consortium), there are 94 requests for the title.”

Lisa Palmer, programming and events librarian in the reader engagement department of Mid-Continent Public Library in Missouri, says that at her library, “Books-to-movie adaptations are one of the top draws to book discovery, so keeping ahead of award season and forthcoming releases is a priority.” Once the nominations are announced, hold lists increase quickly on the related books. The library helps them along with “ongoing promotion and word-of-mouth. Our wonderful librarians are very savvy on creating read-alikes and ‘if you liked …’ [lists] for those waiting on books, and to encourage readers to continue story discovery. But it should be noted too, that interest for past adaptations does surface also, which shows that visual arts is a powerful draw for readers.”

MEETING THE MOMENT

Patrick notes, “This is one of the first years in a while where I think that the nominees are truly representative of the year in movies. F1 was a surprise [nomination], but it was also extremely well-made and exciting. I wasn’t the biggest fan of Frankenstein because of some changes it made from the book, but a lot of my friends said it was their favorite of the year. Marty Supreme, Sinners, One Battle After Another, and Bugonia were some of the best theatrical experiences I’ve had, and Train Dreams and Hamnet were incredibly moving.” He wasn’t able to see Sentimental Value or The Secret Agent because they weren’t playing in nearby theaters—notably, they’re the two non-English-language titles on the list, so the distribution inequity makes sense.

“I have always believed that movies reflect the state of current events; we can see this as we look back at how movies change in tone and content,” Alvarez says. “The Oscars will be no exception. I expect we will see very charged speeches from many of the winners,” she predicts. 

Palmer says, “I’m not surprised that some movies have a tone that reflects the current unease. My theatre teacher once said to me that movies and books are a way we subconsciously deal with wanting to understand societal issues, but also vice versa—tapping into the societal issues and emotions creates stories and performances that make people stop and take note.”

“A recurring theme across many of this year’s nominated films is that while we live in an imperfect world, we possess the power to transform it through community,” Barbour believes. “From One Battle After Another to Sinners, Hamnet to Train Dreams, and even F1, these films reveal how loneliness can be crippling. Libraries serve not only as repositories of resources but as vital spaces that bring people together.”

“It’s also interesting that a number of this year’s nominees deal with the struggles, fears, and anxieties of parenthood (One Battle, Sentimental Value, Hamnet, Train Dreams, Marty Supreme, If I Had Legs I’d Kick You, even Frankenstein). As a parent who worries a lot about how my child will turn out in a world that seems to be getting crazier and more fractured every day, I can certainly relate—and it’s a small comfort to know I’m not alone,” O’Brien says. They believe titles such as One Battle After Another and Bugonia “tap deeply into widespread feelings of frustration, rebellion, paranoia, madness, and rage about the state of the world. I also thought Ari Aster’s Eddington was extremely powerful for these reasons, and that it’s an amazingly uncanny depiction of life in 2020 and how it shaped the rest of the decade so far … but far fewer moviegoers seem to share my appreciation for that one.”

Lodge notes, “The scene in Sentimental Value between Renate Reinsve’s and Inga Ibsdotter Lilleaas’ characters in the bedroom of their house was magic—I found it to be very touching. I hope either actress wins. Also, I wish My Undesirable Friends was nominated for Best Documentary; in its place, I hope The Alabama Solution wins because it shows prisoners are people too.”

O’Brien is rooting for Rose Byrne in If I Had Legs I’d Kick You. It “was my favorite performance of 2025. She perfectly captures the kind of parental anxiety I mentioned earlier, in a way that delicately balances comedy, tragedy, sympathy, and cringe. I don’t expect her to win, but I’ll be crossing my fingers anyway.”

Palmer also has an alternate Best Actress in mind. “Song Sung Blue, this is my sweet treat. I have a soft spot for the movie—I hope Kate Hudson gets the nod [because] I loved how she portrayed Claire, just a mother of two, with dreams, falling in love and dealing with the struggles that come at you. She morphed into the ’80s/’90s with feeling and attitude.”

THE BEST PICTURE CONTENDERS 

Bugonia

Two conspiracy-obsessed young men kidnap the high-powered CEO of a major company, convinced that she is an alien intent on destroying planet Earth.

“An impressively wild and hilarious meditation on our humanity that dares to ask whether we’ve already passed the point of no return. The soundtrack is fire,” Barbour says. 

“Bugonia is a captivating showdown by two fantastic actors where the absurdity of its premise never deflates the tension. Misanthropic, but not without pity. Hard to believe Jesse Plemons didn’t get nominated for his work here,” O’Brien says.

Ploep “feels Emma Stone really devoted herself to her role and created a feeling of suspense throughout the story.”

Palmer agrees on Stone’s performance. “I did not like the film at all, yet I watched the whole thing, so how can I dislike it when I was captivated by it?! I’m going to say it’s the writing, and Emma Stone’s skills in delivering. She sold that movie with her performance.”

F1

A Formula One driver comes out of retirement to mentor and team up with a younger driver.

“A loud, predictable spectacle that shouldn’t have made the cut. Sorry, Baby deserved this slot instead,” Barbour says. 

Lodge counters, “F1 was very fun and intelligent; I rooted for Brad Pitt and Javier Bardem’s characters because of the chemistry they established with each other.”

Frankenstein

Dr. Victor Frankenstein, a brilliant but egotistical scientist, brings a creature to life in a monstrous experiment that ultimately leads to the undoing of both the creator and his tragic creation.

“I love Mary Shelley’s original Frankenstein, but I don’t mind that Guillermo del Toro treated it more like an outline than a sacred text. I actually kinda liked that he gave it some jolts of Grand Guignol, telenovela, and Catholic guilt while keeping much of its Goth philosophy,” O’Brien says. 

Alvarez shares, “I am rooting for Frankenstein. I have always been a fan of the story and loved seeing Guillermo del Toro’s interpretation. He has a way of really bringing characters to life.”

Ploep “loves the costume design for Frankenstein because it symbolizes many elements within the story, such as Victor’s red gloves that symbolize blood on his hands and how the wrappings on Elizabeth’s wedding dress resemble the Bride of Frankenstein.”

“Frankenstein is cinematically stunning, [and] it’s by far my favorite adaptation of the classic work,” Palmer says. “I hope it comes away with some awards for its artistic endeavors.”

“A glossy, solid retelling of a classic tale,” Barbour agrees. “I hoped for a grand slam but got a respectable double—still worthwhile, just not transcendent.”

Hamnet

After losing their son Hamnet to plague, Agnes and William Shakespeare grapple with grief in 16th-century England. A healer, Agnes must find strength to care for her surviving children while processing her devastating loss.

“Hamnet is wonderful and heart wrenching. I studied Shakespeare at school/drama school, and it deeply rooted my understanding in how much of a genius he was, but it is clever how the book/movie focuses on his wife Agnes in developing the story of speculating what inspired the masterpiece Hamlet,” Palmer shares.

“If beautifully acted, meticulously crafted explorations of grief resonate with you, this will be essential viewing. Probably the best final shot of any film this year,” Barbour says.

Lodge has similar feelings: “I found Hamnet to be very intense and very, very good; the last couple of scenes broke my heart.”

“Hamnet is realistic yet mystical, heartbreaking yet enchanting, and its emotional climax is a well-earned triumph,” O’Brien agrees.

Marty Supreme

Marty Mauser, a young man with a dream no one respects, goes to hell and back in pursuit of greatness.

“A wild ride populated by unlikable people doing unlikable things—a masterpiece for the right viewer, and a film your mom will probably hate,” Barbour says.

“What impresses me is that Timothée Chalamet performed all of his table tennis sequences himself, instead of using a stunt double,” Swain notes.

O’Brien agrees, “I’ve always thought Timothée Chalamet was a great actor, but he went to a whole new level in Marty Supreme. He had me rooting for that cocky heel throughout the whole relentless, exhilarating ride.” 

“This is a feel-good movie, and you root for Marty and his gritty charm,” Palmer echoes. “Marty Supreme is a wild ride—messy in ways, but it leads well to the story of the manic and antihero type; it got me thinking about ambition.”

One Battle After Another

When their enemy resurfaces after 16 years, a group of ex-revolutionaries reunite to rescue the daughter of one of their own.

“One Battle After Another feels like an instant classic. Tense, hilarious, bittersweet, timely yet timeless, and ultimately very cathartic and optimistic. Paul Thomas Anderson has already directed several masterpieces, but this is his first one with popcorn blockbuster energy,” O’Brien says. 

Barbour shares, “As a devoted Paul Thomas Anderson fan (Magnolia is one of my all-time favorite movies), I found this social justice epic mostly brilliant. It’s also the front-runner to win Best Picture, and I think it will win.”

“Sean Penn deserves an Oscar for giving depth while evoking visceral hatred in the role of a truly despicable villain,” Swain believes. She also singles out Teyana Taylor’s performance as deserving of a win.

The Secret Agent

In 1977, a technology expert flees from a mysterious past and returns to his hometown of Recife in search of peace. He soon realizes that the city is far from being the refuge he seeks.

“A brilliant lead performance anchors this overlong corruption drama that could have benefited from tighter editing,” says Barbour. 

Sentimental Value

An intimate exploration of family, memories, and the reconciliatory power of art. 

Lodge notes, “I love how the house was one of the main characters in Sentimental Value. The performances in the movie were so wonderful.” 

“Of all the nominees, this is the one that has grown on me most since my initial viewing. What I thought was merely good has lingered in ways that have truly elevated the experience. The best casting of the year and oddly not nominated in that new category!” Barbour says.

“Sentimental Value is a stunning combination of writing, directing, and ensemble acting. It’s a restrained yet deeply penetrating portrayal of stifled family dysfunction, and (like Hamnet) the power of art over grief,” O’Brien shares.

Sinners

Trying to leave their troubled lives behind, twin brothers return to their hometown to start again, only to discover that an even greater evil is waiting to welcome them back.

“Horror/supernatural thriller Sinners sets an Oscar record with 16 nods! Sinners is in the front line to sweep the boards, and I have to say, I couldn’t agree more!” Palmer exclaims. “I can’t remember what author on Instagram recommended Sinners,” she laments, but this author had posted “that Sinners was by far the best movie of the year. I’m not a horror/supernatural thriller fan, but I like a rave review to entice my movie choices. This is a visually stunning movie, and I love the use of music to set up scene and emotion! With its themes, this movie makes a perfect movie for film studies.”

“Sinners explores relevant themes of race and cultural vampirism in a novel and savagely entertaining way. Considering the race-related controversies that the Oscars have stirred up in the past, it’s cool that the Academy made this the most nominated film in its history,” says O’Brien.

Palmer adds, “Everyone in this movie is perfectly cast, and you can’t deny the power in the performance. Miles Caton made his debut in this movie, and he is one to watch as a rising star. Visually addictive to watch.”

Swain also singles out the performances, noting that Wunmi Mosaku is deserving of a win. “Michael B. Jordan masterfully handled the complex nuances of playing twins,” she notes.

“I am rooting for Sinners the most in every category because it was by far the best movie I’ve seen all year,” says Patrick. “Particularly, I am hoping it wins for Best Song for ‘I Lied to You,’ as that song was the centerpiece of the most moving scene I’ve watched in a long time. It was performed beautifully by Miles Caton, who should’ve been nominated for Supporting Actor.”

“The musical sequence in the barn is one of my favorite movie scenes of all time,” agrees Barbour. “I love how the film builds methodically in segments before unleashing an adrenaline rush of an ending that makes everything click into place.”

Train Dreams

[A] moving portrait of Robert Grainier, a logger and railroad worker who leads a life of unexpected depth and beauty in the rapidly-changing America of the early 20th Century.

“One of the most powerful explorations of loneliness I’ve ever watched, elevated by some of the year’s finest cinematography,” Barbour says.

O’Brien’s take is that “Train Dreams can be hellishly sad and lonely, but it’s made bearable by its poetic beauty and profundity.”

Movie posters and synopses are from imdb.com.