Final vote is February 11-18. The 97th Oscar Telecast will be broadcast on Sunday, March 2 and Air Live at ABC at. 19.00 et/ 16.00 pt. We will update our choices during the awards ceremony, so keep checking indieview for all our 2025 Oscar pre -prospects.
The race permit
The Best editing Oscar -Nominated is “Anora”, “The brutalist,” “Conclave,” “Emilia Pérez,” and “Evil.” “Conclave” is the favorite as a dark and moody Vatican conspiracy thriller, with “The Brutalist” who gathers momentum for its epic drama about the fight for immigrants after Holocaust.
“Conclave”, Edward Berger’s follow -up of “All Quiet on the Western Front”, applies to the choice of a new pope at the Vatican in an internal battlefield within the sequence of the Sistine chapel. Ralph Fienne’s Cardinal Lawrence administers the ritual when he handles a crisis of faith. This is exacerbated by his discovery of corruption and conspiracy within the Vatican and forces him to play detective behind the scenes in the conclave. Editor Nick Emerson handles the slow burning of moving the mystery of confined spaces, mostly in the dark, balancing the outer drama with the interior. Attention is always focused on Lawrence’s psychological struggle, both directly and indirectly, through his sharp cut.
Brady Corbet’s “The Brutalist” is an epic immigrant story after Holocaust in Pennsylvania about architecture. It pits architect László Tóth (Oscar-nominated Adrien Brody), a Hungarian Jud and Auschwitz Survivor, against the Harrison industry Van Buren (Oscar-nominated Guy Pearce), who hires him to design an institute as a shelf for his late mother. 215-minute filmShooted in Vistavision, contains a rare interruption as a throw to the old Roadshow entries. It is divided into two sections (“Part 1: The Enigma of Arrival” and “Part 2: The Hard Core of Beauty”) with an epilogue. Editor Dávid Jancsó used Toth’s passion project as a stylistic reference for how he structured the film since the clean, geometric precision of the Brutalism influenced the cutting patterns, with long, unbroken shots interspersed with sharp, abrupt cuts, creating a rhythm that reflected the architect’s Trauma after the war.
“Emilia Pérez,” The Musical Crime Thriller from Jacques Audiard, Stars Oscar-Nominated Zoe Saldaña as Rita, a Disput Lead Lawyer Fed Up With The Corruption in Mexico City, Who Assists Drug Lord Male Male Mont Mont Mont Mont Mont Mont Mont Mont Mont Mont Mont Mont Mont Mont Mont Mont Mont Mont Mont Mont Mont Mont Mont Monta I Woman (both played by Oscar-nominated Karla Sofía Gascón). It is like an operatic fever dream about transformation with Gaudy, neon-lit musical numbers in sharp contrast to the serious naturalism of violence. Go-to-editor Juliette Welfling cut towards the beginning and stops the rhythm of traditional musicals with sequences that naturally flowed from dialogue to musical moments as part of a hybrid dramatic structure.
“Anora” director Sean Baker becomes only the eighth director nominated for editing. The young sex worker Ani (Oscar-nominated Mikey Madison) has a sexual throw with Vanya (Mark Eydelteyn), the immature son to a Russian oligarch, and they are impulsively marry in Vegas. But then Vanya’s godfather intervenes to get the marriage invalid, which causes Vanya to flee, followed by a hectic search to find him in Brooklyn. But, just like Eric Rohmer, Baker replaces things with the introduction of Henchman Igor (Yura Borisov), which turns out to be more sensitive and caring than expected, which gets a bitter cute that ends in a car in the snow.
Jon M. Chu’s “Wicked” tells the original story to Elphaba/The Wicked Witch (Oscar-nominated Cynthia Erivo) and Galinda/Glinda The Good Witch (Oscar-nominated Ariana Grande). Chu’s favorite editor, Myron Kerstein, received a crash course in VFX-heavy films to prepare for the workflow. The populist film offers tone shifts, constantly goes from light to darkness and mixes different genres in focusing on the friendship between Elphaba and Glinda. The highlights are Ozdust Ballroom Solo Dance, where the two students at Shiz University are bound together, and Elphaba’s “Defying Gravity” exhibition, which has been expanded from the Broadway production to increase the dramatic and emotional efforts.
The nominees are listed below because they will win.
Battlers
“Conclave” (Nick Emerson)
“The Brutalist” (David Jancsó)
“Emilia Pérez” (Juliette Welfling)
“Anora” (Sean Baker)
“Wicked” (Myron Kerstein)
