25 years ago, the standard for 21st-century acting performances was set by Hollywood icon Denzel Washington. Following his Best Supporting Actor win over a decade prior for 1989’s Glory, Washington delivered perhaps his career-defining turn as corrupt LAPD Detective Alonzo Harris in Training Day. This would mark his second Oscar win to date, among ten total nominations, making him one of the most decorated actors in Academy history.
Of his many Oscar nominations, it’s difficult to pick a standout. However, the New York-born actor has only earned two nominations for a single movie once, earning an acting nomination and Best Picture nomination as star, director, and co-producer of 2016’s Fences. A passion project for Washington, many years in the making, the film was based on August Wilson‘s 1985 play of the same name. In a 1987 Broadway run, the play boasted the voice of Darth Vader himself, James Earl Jones, as the patriarch of the Maxson family, Troy.
Fences was nominated for a total of four Academy Awards, including the aforementioned pair for Washington and a Best Adapted Screenplay nod for Wilson. However, its shining moment on Oscars night came in a win for Washington’s co-star Viola Davis, who took home the Best Supporting Actress prize in one of the best wins in the category of the past decade. Fences was also a quiet hit at the box office, turning in a respectable global haul of $64.2 million against a reported production budget of $24 million. If you’d love to sample the best film Washington has directed, then you’re in luck, as it just debuted on a new streamer. Right now, you can watch Fences on Paramount+, where it joins a stacked lineup of other award-winning projects.
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Collider Exclusive · Oscar Best Picture Quiz Which Oscar Best Picture Is Your Perfect Movie? Parasite · Everything Everywhere · Oppenheimer · Birdman · No Country
Five Oscar Best Picture winners. Five completely different visions of what cinema can be — and what it can do to you. One of them is the film that was made for the way your mind works. Ten questions will figure out which one.
🪜Parasite
🌀Everything Everywhere
☢️Oppenheimer
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🐦Birdman
🪙No Country for Old Men
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01
What kind of film experience do you actually want? The best movies don’t just entertain — they leave something behind.
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02
Which idea grabs you most in a film? Great films are driven by a central obsession. What’s yours?
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03
How do you like your story told? Form is content. The way a story is shaped changes what it means.
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04
What makes a truly great antagonist? The opposition defines the protagonist. What kind of opposition fascinates you?
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05
What do you want from a film’s ending? The final note is the one that lingers. What do you want it to sound like?
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06
Which setting pulls you in most? Where a film takes place shapes everything — mood, stakes, what’s even possible.
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07
What cinematic craft impresses you most? Every great film has a signature — a technical or artistic element that makes it unmistakable.
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08
What kind of main character do you root for? The protagonist is the lens. Who you choose to follow says something about you.
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09
How do you feel about a film that takes its time? Pace is a choice. Some films sprint; others let tension accumulate slowly, deliberately.
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10
What do you want to feel walking out of the cinema? The best films leave a mark. What kind of mark do you want?
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The Academy Has Decided Your Perfect Film Is…
Your answers have pointed to one Oscar Best Picture winner above all others. This is the film that was made for the way your mind works.
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Parasite
You are drawn to films that operate on multiple levels simultaneously — that begin in one genre and quietly, brilliantly migrate into another. Bong Joon-ho’s Parasite is a film about class, desire, and the architecture of inequality that manages to be darkly funny, deeply suspenseful, and genuinely shocking across a single extraordinary running time. Your instinct is for cinema that hides its true intentions until the moment it’s ready to reveal them. Parasite is exactly that — a film that rewards close attention and punishes assumptions, right up to its devastating final image.
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Everything Everywhere All at Once
You want it all — and this film gives you all of it. The Daniels’ Everything Everywhere All at Once is one of the most maximalist films ever made: action comedy, multiverse sci-fi, family drama, existential crisis, and a genuinely earned emotional core that sneaks up on you amid the chaos. You are someone who responds to ambition, who doesn’t want cinema to choose between being entertaining and being meaningful. This film refuses that choice entirely. It is overwhelming by design, and its overwhelming nature is precisely the point — because the feeling of being crushed by infinite possibility is exactly what it’s about.
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Oppenheimer
You are drawn to cinema on a grand scale — films that understand history not as a backdrop but as a force, and that place their characters inside that force and watch what happens. Christopher Nolan’s Oppenheimer is a film about the terrifying gap between what we can do and what we should do, told with the full weight of one of the most consequential moments in human history behind it. You want your films to feel important without feeling self-important — to earn their ambition through sheer craft and the gravity of their subject. Oppenheimer does exactly that. It is enormous, complicated, and refuses easy comfort.
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Birdman
You are drawn to films that foreground their own construction — that make the how of the filmmaking part of the what it’s about. Alejandro González Iñárritu’s Birdman, shot to appear as a single continuous take, is cinema examining itself through the cracked mirror of a fading actor’s ego. You respond to formal daring, to the feeling that a film is doing something that probably shouldn’t be possible. Michael Keaton’s performance and Emmanuel Lubezki’s restless camera create something genuinely unlike anything else — a film that is simultaneously about creativity, relevance, self-destruction, and the impossibility of ever truly knowing if your work means anything at all.
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No Country for Old Men
You are drawn to cinema that trusts silence, that refuses to explain itself, and that treats dread as a form of meaning. The Coen Brothers’ No Country for Old Men is a film about the arrival of a new kind of evil — implacable, arbitrary, and utterly indifferent to the moral frameworks we use to make sense of the world. It is one of the most formally controlled films ever made, and its controlled restraint is what makes it so terrifying. You want your films to haunt you, not comfort you. You are not interested in resolution if resolution would be dishonest. No Country for Old Men is honest in a way that most cinema never dares to be.
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What Is Denzel Washington Making Next?
Denzel Washington as Troy holding a liquor bottle and sitting on some wooden steps next to Viola Davis as Rosewho is knitting a wool cap.Image via Paramount Pictures
As one of Hollywood’s greatest actors, Washington is never short of demand. Following his scene-stealing role in the eventually underwhelming Gladiator II and starring turn in the hugely underrated Spike Lee joint Highest 2 Lowest, Washington’s next project will see him feature opposite two of Hollywood’s brightest stars in Twilight‘s Robert Pattinson and Normal People star Daisy Edgar-Jones. A heist thriller described as “unconventional,” the trio will headline the upcoming Netflix project, Here Comes the Flood, scheduled to debut sometime this year.
Fences is streaming now on Paramount+. Make sure to stay tuned to Collider for the latest streaming updates.
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