Think You Clocked the Oscars? Try the 97th Academy Awards Quiz.

Oppenheimer won Best Picture at the 97th Academy Awards, solidifying its dominance across key categories. Directed by Christopher Nolan, it captured the Academy’s attention with its intellectual gravity, technical excellence, and ensemble cast. The film’s storytelling structure and visual scale reflected Nolan’s directorial maturity, and its critical reception throughout awards season made it a consistent frontrunner. Voters often reward films that balance historical relevance with cinematic craftsmanship, and Oppenheimer achieved both. Its performance echoes past trends where biographical dramas with sweeping narratives—like The King’s Speech or The Shape of Water—also secured the top prize.

Christopher Nolan won his first Oscar for Best Director with Oppenheimer, a moment long awaited by critics and fans alike. Known for intellectually dense and visually ambitious films, Nolan had been nominated multiple times but never won—until now. His directorial achievement in Oppenheimer balanced narrative fragmentation, large-scale period detail, and intense character study. This win reflects the Academy’s recent trend of recognizing long-time visionaries who redefined the craft. Nolan’s direction managed to make theoretical physics cinematically compelling, which demonstrates not only technical mastery but also narrative clarity—both major factors in directing wins.

Oppenheimer led the 97th Academy Awards with the most nominations across major and technical categories. It earned nods for acting, directing, editing, production design, and more—demonstrating its industry-wide impact. The Academy often rewards comprehensive cinematic achievements that blend intellectual themes with visual spectacle, and Oppenheimer met that standard. Its multi-nomination status also helped solidify its campaign narrative, making it the awards season’s centerpiece. Films with wide nomination spreads typically perform well on Oscar night because they signal across-the-board support from multiple branches of the Academy, from sound to script.

Cillian Murphy won Best Actor for his intense and layered portrayal of J. Robert Oppenheimer. The role demanded emotional range, scientific intellect, and moral ambiguity, all of which Murphy delivered with precision. His performance carried the film’s philosophical weight and internal conflict, often through minimal dialogue and subtle facial expressions. This win marked his first Oscar, elevating him from cult favorite to major award-winner. The Academy often rewards transformative roles, and Murphy’s embodiment of the conflicted physicist aligned with past winners who captured complex historical figures, like Daniel Day-Lewis in Lincoln or Gary Oldman in Darkest Hour.

Emma Stone won Best Actress for her role in Poor Things, where she played Bella Baxter, a reanimated woman exploring the world with childlike wonder and mature autonomy. The performance required an extraordinary blend of physicality, emotional nuance, and absurdist timing. Stone’s daring, layered portrayal challenged conventional gender roles and won praise from critics and peers alike. This win marked her second Oscar, following La La Land. The Academy has historically recognized actors who take artistic risks and reframe character archetypes, and Stone’s fearless commitment made her performance both unforgettable and emblematic of 2024’s boldest storytelling.

The Boy and the Heron, directed by Hayao Miyazaki, won Best Animated Feature. The film’s win reaffirmed Studio Ghibli’s artistic legacy and Miyazaki’s singular vision. Blending surrealism, grief, and fantasy, the film echoed his earlier classics like Spirited Away while offering a mature reflection on mortality and war. The Academy tends to favor emotionally resonant, hand-drawn animation with philosophical undertones in this category, especially when it involves a legendary figure like Miyazaki. It stood out against more commercially driven entries, securing victory through its narrative depth, innovative visuals, and the director’s global prestige.

Da’Vine Joy Randolph won Best Supporting Actress for her emotional performance in The Holdovers. Playing a grieving cafeteria worker at a boarding school, she brought depth and quiet strength to a role that could have been sidelined. Her nuanced portrayal of loss, dignity, and unexpected connection elevated the entire film. Critics and voters alike noted her natural screen presence and ability to anchor scenes without overpowering them. This marked a breakthrough moment in her career and a continuation of the Academy’s recent recognition of emotionally powerful, character-driven performances in the supporting category.

I’m Just Ken from Barbie won Best Original Song, a surprise yet fitting result in a year filled with bold musical entries. Performed by Ryan Gosling and written by Mark Ronson and Andrew Wyatt, the song captured both satire and sincerity in a film known for its layered messaging. The performance at the Oscars was widely praised and likely sealed the deal with voters. The Academy sometimes leans toward heartfelt ballads (What Was I Made For?), but this year’s win reflects a growing appreciation for theatricality, camp, and humor in award-worthy musical storytelling.

Society of the Snow, a Spanish-language survival drama directed by J.A. Bayona, won Best International Feature Film. Based on the real-life 1972 Andes plane crash, it portrayed harrowing survival with emotional depth and visual clarity. This win surprised some pundits who expected The Zone of Interest to dominate, but Society of the Snow resonated with voters for its human resilience and immersive storytelling. The International Feature category often rewards emotionally gripping films that cross linguistic and cultural barriers, and this one stood out for its direction, pacing, and ethical complexity. It marked a milestone in Spanish-language cinema at the Oscars.

Celine Song earned her first Oscar nomination for Past Lives, marking a significant debut for a writer-director. The film’s quiet emotional clarity and cross-cultural perspective garnered acclaim throughout the festival circuit and awards season. Her nomination for Best Original Screenplay put her in the spotlight as a new voice in American cinema. The Academy’s inclusion of Song reflects a broader trend of recognizing emerging talents with personal, intimate storytelling styles. Her work, grounded in realism and memory, drew comparisons to directors like Richard Linklater and Wong Kar-wai, signaling a bright future for her in film.