By Hadassa Ferreira, Arts & Culture Editor
For film lovers, March 2 was a highly anticipated night—the Oscars. However, this year’s ceremony disappointed many viewers due to controversial decisions made by the Academy.
“Anora,” Sean Baker’s “romantic dramedy,” won some of the most important awards of the night, including Best Picture and Best Actress, leaving many confused and disappointed by the Academy’s choices.
The debate over diversity within the Academy is not new. Since the early 2020s, the Academy has been working toward greater inclusion by expanding its membership to include more minorities and Latin American representatives.
Historically, Oscar films were largely Eurocentric and intellectual, but recent years have seen more diverse nominees, reflecting a shift in the voting body. While past winners have broken away from the “Oscars So White” trend, this year’s Best Actress and Best Picture winners, despite balancing diversity and tradition, were seen as unfortunate choices by many.
“Anora,” dubbed the “Grenz Pretty Woman,” follows Ani, a Brooklyn stripper and sex worker played by Mikey Madison. She speaks Russian and meets Vanya, the son of an oligarch (Mark Eydelshteyn). After paying her to be his exclusive companion, they quickly fall into a passionate romance and impulsively marry in Vegas. Unlike “Pretty Woman,” however, “Anora” lacks a happy ending, as Vanya’s family disapproves of their relationship.
The truth is, beyond the formulaic plot, “Anora” is a film that highlights how Hollywood continues to profit from stories meant to satisfy “the male gaze.” Its win only proves that the male-dominated perspective still holds sway in Hollywood.
You might think that a movie about a sex worker would focus on representation and elevate minority voices. But the choice of the lead actress is a deal-breaker. In reality, most sex workers have a specific face, race, and gender, none of which align with Madison’s portrayal.
Beyond that, the plot does not take Madison to her full potential, as her character does experience any significant development throughout the movie. Many scenes, mainly in the first part of the movie, hypersexualize her and could even place the film under a soft-porn category.
Madison’s victory is even more upsetting when considering the other nominees: Demi Moore, Fernanda Torres, and Cynthia Erivo. Their cinematographic experience is undeniable, and their performances this year were exceptional. Yet, none of them took home the Oscar.
Many expected Fernanda Torres to win for her powerful portrayal of Eunice Paiva in “I’m Still Here.” Paiva was a resilient woman who fought Brazil’s military dictatorship while seeking justice for her husband, Rubens Paiva, who was kidnapped, tortured, and killed in the 1970s.
Throughout the film, Torres’s performance captivated audiences, evoking deep empathy for a family that refused to be silenced, ultimately thriving under a strong woman’s leadership.
Moore also delivered an outstanding performance this year in “The Substance,” where she portrayed a dynamic character in a film about the challenges faced by women over 50 in Hollywood.
After winning several awards during the season, including the Golden Globe and Critics Choice Awards, her Oscar loss surprised many. Her character’s experience of ageism mirrored Moore’s own real-life treatment at the 2025 Oscars.
The reality is that this era is filled with amazing actresses who are capable of telling compelling stories of powerful women. Yet Oscar voters, largely a representation of a traditional power structure, seem unable to connect with the diverse and evolving experiences of the public.
So, if the Academy fails to recognize the impact of these voices, it is up to us to celebrate their work, regardless of any gold statue.
