Oscars 2025: The case for Nickel Boys to win Best Picture

Occasionally, there are movies in the Best Picture nominees that seem almost unexpectedly included; films that, while clearly deserving due to their artistic merits, appear somewhat daring and unconventional, which makes one wonder if the Academy might take a risk to acknowledge them.

In essence, RaMell Ross’s emotionally powerful and innovatively structured film, “Nickel Boys,” received praise from critics yet seemed destined to be overlooked due to a flawed release strategy and minimal awards campaign. However, at the last possible moment, it managed to secure its nomination.

Fortunately, it was chosen for inclusion. However, it faces stiff competition from some exceptional films in this year’s selection, particularly Brady Corbet’s captivating three-and-a-half-hour masterpiece, The Brutalist. Yet, there should be no question that Nickel Boys stands as the most worthy recipient of the coveted award.

Ross, renowned for his 2018 documentary Hale County This Morning, This Evening, chose a daring technique to film this movie based on Colson Whitehead’s Pulitzer Prize-winning novel. Instead of using traditional camera angles, he opted to shoot the movie entirely from the perspectives of its main characters, Elwood (Ethan Herisse) and Curtis (Brandon Wilson). The point of view frequently shifts between these two characters.

Instead of appearing as a mere novelty, this distinctive technique imbues the movie with an unprecedented sense of closeness and texture, making viewers feel as if they’re walking in the characters’ footsteps. This unorthodox method might initially take some spectators a moment to adapt to its visual and tactile qualities, but it won’t be long before it captivates you entirely: offering an intensely immersive journey marked by brief, poetic instances of breathtaking beauty as well as profoundly moving, heart-wrenching sequences.

In Jim Crow-era Florida, the movie follows Elwood, an African-American teenager who aspires to attend a tuition-free college. However, his aspirations are shattered when he is falsely accused of car theft and sent to a harsh, racially segregated reform school known as Nickel Academy. At this institution, he endures intense cruelty not only from other students but also from the deeply racist faculty, all set against a backdrop of unbearable oppression.

In one aspect, a glimmer of relief surfaces through the bond he establishes with a fellow pupil named Turner (Brandon Wilson), who, like him, feels disillusioned, although his skepticism is more pronounced when it comes to Elwood’s aspirations for change and escape from Nickel. Concurrently, several forward leaps in time portray an older Elwood residing in New York City – a fact that ultimately unfolds into a captivating, emotionally stirring disclosure we choose not to divulge at this point.

As a movie enthusiast, I must admit that the audacious central concept of this film caught my attention right from the start. But even beyond that, the film’s technical prowess is undeniable. The subtle, impressionistic touches director Ross employs – such as his creative use of archival footage – give the movie a dreamlike, poetic quality. This artistic flair reaches its peak in an astonishing third act montage that leaves a lasting impact.

In this outstanding production, every actor delivers an exceptional performance, but special recognition must be given to Aunjanue Ellis-Taylor who truly excels in her supporting role as Elwood’s grandmother. Her portrayal is particularly moving and impactful during the film’s most emotional scenes. It would certainly be a shame if she were overlooked for an award due to her outstanding performance.

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Although it’s exciting that the film made it to the Best Picture category, it may seem disappointing that it received so few nominations beyond this accolade. The recognition of an adapted screenplay for Ross and co-writer Joslyn Barnes is appreciated, but it’s puzzling why Ross wasn’t nominated for Best Director, considering this nod went to James Mangold instead. While Mangold’s Bob Dylan biopic A Complete Unknown was competently directed, it leans heavily on conventional techniques.

In my perspective, the scarcity of other nominations and the limited number of awards this unique film has garnered from major precursor award shows give off the impression that a Best Picture win might be an improbable feat. Yet, considering the fact that such an unconventional piece has even made it onto the list of nominees, there’s reason to rejoice. We can keep our fingers crossed, hoping against hope that this underdog somehow manages to take home the grand prize.

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2025-02-28 12:04

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