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This year’s 93rd Academy Awards include more diversity than in previous years, with 16 out of the 24 acting nominees being people of color.

Of the eight films nominated in the best picture category, there are several — like “Judas and The Black Messiah” and “Minari” — that highlight underrepresented communities. Here’s everything you need to know about the films that made the Best Picture list.

The Father

French director Florian Zeller’s debut feature — based on his own play — moves like a seasoned scribe’s late-career entry. “The Father” depicts Anthony’s (Anthony Hopkins) fight to retain his apartment and independence despite his experiences with dementia and his daughter Anne’s (Olivia Colman) challenges helping her dad.

The film works because of how it cyclically describes and shows the effects of dementia through repetitive conversations about groceries and Anne’s discussions about leaving for Paris. At moments, “The Father” comes off as a horror film with the various camera shot techniques used and the topics of discussion.

— Patrick Gunn

Mank

David Fincher’s “Mank” delivers his take on 1930s Hollywood and the flaws of its Golden Age. At base level, the film is about screenwriter Herman J. Mankiewicz — better known as Mank (Gary Oldman) — as he finds inspiration for the script to “Citizen Kane.”

“Mank” is structured non-linearly, bouncing around from a bedridden Mank to him strutting along Hollywood. Amanda Seyfried stands out in her role as actress Marion Davies, the mistress of media tycoon William Randolph Hearst (Charles Dance). Davies — a sophisticated yet somewhat shunned woman — shines in each of her scenes.

— Sam Rivo

Nomadland

“Nomadland,” is a gorgeously shot and relaxing film that follows Fern (Frances McDormand) through an emotional and healing journey across the American heartland. The film also sheds light on nomadic culture, neither passing judgment nor analyzing anything too difficult.

The line between film and documentary does get crossed at moments by including real-life nomadic people in the cast, sharing personal stories and why that decided to live a nomadic life, and helping Fern along her journey.

I love the motif of not saying goodbye but rather “see you down the road.” The mentality captures so much about the film in just a few words.

— Patrick Gunn

Promising Young Woman

Emerald Fennell’s directorial feature debut, “Promising Young Woman,” is a thrilling, yet uncomfortable indictment of rape culture. The film centers on Cassie (Carey Mulligan), a femme fatale who lures “nice guys” into exposing themselves as predators for vulnerable women who can’t give consent.

Of all the elements that make “Promising Young Woman” such a great film, Mulligan’s performance is certainly Oscar-worthy. Mulligan is at once charming, vulnerable, clever, incisive and pained. There are layers to her portrayal of a woman still grappling with the trauma of rape, victim blaming and trying desperately to empower herself.

— Madison Tyler

Sound of Metal

Riz Ahmed is appropriately getting praise for his fantastic performance as Ruben in “Sound of Metal.” He completely owns the screen as a drummer dealing with hearing loss throughout the entire film.

“Sound of Metal” has far more to offer than just Ahmed’s committed performance. Juxtaposed scenes like the chaotic introduction of Ruben drumming at a concert, contribute to Ruben’s conflicted state and literally showing us what he can and cannot hear.

The film excels because of the dance between the strong performances of the entire cast and the strong use of sound to emphasize Ruben’s struggle.

— Patrick Gunn

Trial of the Chicago 7

“Trial of the Chicago 7” is categorically an “Aaron Sorkin joint.” The writer-director’s signature cinematic moves are all over the movie. From the fast paced, rhythmic dialogue to the rapid fire editing and wit sprinkled throughout, this is Sorkin’s wheelhouse.

The historical, political drama film is based on the 1969 trial of seven “radical left” activists charged with inciting a riot, conspiracy and more for protesting at the 1968 Democratic National Convention in Chicago.

— Madison Tyler

Minari

As soon as “Minari” takes shape, it’s clear that there is a disconnect between Jacob Yi’s goal of achieving his American dream and the doubts held by his wife Monica.

Jacob (Steven Yeun) is enthusiastic about his family’s new life, harvesting Korean vegetables on a 50-acre farm in Arkansas. Monica (Han Yeri) is hesitant about their decision to uproot their family’s life in California.

The film reflects a simple, yet emotional story of a family trying to survive in a world not designed for them to succeed. “Minari” is down-to-earth — never trying to be gaudy — and director Lee Isaac Chung relied on subtle features to get his message across.

— Sam Rivo

Judas and the Black Messiah

“Judas and the Black Messiah” opens with J. Edgar Hoover (Martin Sheen) showing FBI agents videos of the Black Panther Party speaking with the media. One clip features the chairman of the Illinois chapter of the Black Panther Party, Fred Hampton (Daniel Kaluuya), saying, “We don’t fight fire with fire; we fight fire with water.”

In the film, director Shaka King navigates the racial tension in Chicago during the 1960s with compassion and anger by filming Hampton and the Black Panther Party favorably while outlining the racist tactics of the FBI.

— Patrick Gunn

Illustrations by Nabeeha Anwar, Illustration Editor

Published on April 26, 2021 at 1:10 am