That makes tonight feel less like a surprise than a coronation — but it is still a huge deal. Buckley’s performance as Agnes has been the emotional centerpiece of Hamnet’s entire awards story, with critics and awards voters rallying around her work in a film that reimagines the grief and private life surrounding Shakespeare’s family. The film was directed by Zhao, who also co-wrote the screenplay with Maggie O’Farrell, adapting O’Farrell’s bestselling 2020 novel. The cast is led by Buckley as Agnes and Paul Mescal as William Shakespeare, with Emily Watson, Joe Alwyn, Jacobi Jupe, and Noah Jupe in supporting roles.
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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.
Advertisement
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?
Advertisement
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.
Advertisement
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.
Advertisement
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.
Advertisement
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.
Because today is Friday the 13th, let’s march our way through the iconic slasher franchise. Ch-ch-ch-ch. Ha-ha-ha-ha.
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How Good Is ‘Hamnet’?
Collider’s review by Ross Bonaime stated that Buckley’s portrayal is remarkable not only in the film’s most emotional moments but in the quiet details. A hesitant touch. A hand reaching for someone who is no longer there. A confused glance at a world that suddenly feels unrecognizable. Buckley makes Agnes’ grief feel deeply physical, as if the loss has fundamentally altered the way she moves through life.
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“Both Buckley and Mescal are incredible in Hamnet, showing an unflinching emotional rawness. The complete and utter destruction of one’s soul is exactly what Buckley is portraying, and it’s nothing short of magnificent what she’s able to pull off here. Not only is she heartbreaking in the major moments, but it’s in her smaller touches that her role of Agnes has a remarkable amount of power. Even just reaching out a hand at the right moment or the utter confusion of who she is now that her son is gone make for some of the most powerful scenes in Hamnet. It’s a gorgeous performance that will burrow itself into your heart.”
Stay tuned to Collider for more coverage of the Academy Awards.
Sentimental Value star Renate Reinsve appeared to narrowly avoid a wardrobe malfunction while on stage at the 2026 Oscars.
Reinsve, 38, joined the cast of Sentimental Value on stage after they won the award for Best International Feature Film at the 98th Academy Awards on Sunday, March 15. While listening to director Joachim Trier give his acceptance speech, the actress could be seen holding the front and back of her dress, seemingly to prevent it from falling down due to someone else stepping on the gown’s train.
Reinsve could then be seen giggling as she adjusted her dress while walking off the stage.
Reinsve wore a red custom Louis Vuitton asymmetrical strapless dress with a slit all the way up to her right hip and a long train on the left. She paired the gown with matching Giuseppe Zanotti heels and a silver bracelet. The ensemble was styled by Karla Welch.
The 2026 Oscars brought out major players in the film industry for an unforgettable night. Conan O’Brien hosted the 98th Academy Awards on Sunday, March 15, at the Dolby Theatre at Hollywood & Highland Center in Los Angeles. (O’Brien played a role in one of the films recognized by the Academy this year, Mary Bronstein’s […]
“Hang in it the Louvre 🌹,” Welch captioned a photo of Reinsve’s bare legs as stylists strapped up her shoes.
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Reinsve stars in Sentimental Value, a Norwegian drama, as Nora, who reunites with estranged father Gustav (Stellan Skarsgård) alongside her sister, Agnes (Inga Ibsdotter Lilleaas). Elle Fanning also stars in the movie as a famous actress hired to play the lead in Gustav’s new film.
In addition to Best International Feature Film, Sentimental Value was nominated for Best Directing, Best Picture, Best Actress in a Leading Role, Best Actor in a Supporting Role, Best Actress in a Supporting Role, Best Writing (Original Screenplay) and Best Film Editing.
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“This film is about a very dysfunctional family, and it’s the opposite of what I felt with this beautiful group behind me,” Trier, 52, said in his acceptance speech on Sunday. “I think I’ve made films to feel at home with people, and I’ve really felt at home with the crew. There’s 1,072 people in these credits, and I love them all and I share this with them. The cast behind me, I’ve never been so proud. Thanks for wanting to work with me.”
The 2026 Oscars red carpet was as glamorous as ever. Thank You! You have successfully subscribed. Subscribe to newsletters Enter your email Please enter a valid email. Subscribe By signing up, I agree to the Terms and Privacy Policy and to receive emails from Us Weekly Deal of the Day Taylor Swift’s Exact Kendra Scott […]
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The filmmaker continued, “Because I’m in this category, I feel I represent global filmmakers, and in a moment like this, I just wanna recognize the wonderful films we were nominated together with. Important, beautiful films that reflect our present crisis and the crisis of the past. And I want to end by paraphrasing the wonderful American writer James Baldwin, who makes us remember that all adults are responsible for all children, and let’s not vote for politicians who don’t take this seriously into account.”
“Security is extremely tight tonight,” host Conan O’Brien opened his Sunday, March 15, monologue. “I’m told there’s concerns about a tax from both the opera and ballet communities.”
Chalamet, nominated for leading actor for his role in Marty Supreme, recently proclaimed that he wasn’t interested in either art form.
“Some people want to be entertained quickly. I’m really right in the middle because I admire people [saying], ‘Hey, we gotta keep movie theaters alive. We gotta keep this genre alive,’” Chalamet told Variety in February. “I don’t want to be working in ballet or opera where it’s like, ‘Hey, keep this thing alive, even though no one cares about this anymore.”
The 2026 Oscars red carpet was as glamorous as ever. Thank You! You have successfully subscribed. Subscribe to newsletters Enter your email Please enter a valid email. Subscribe By signing up, I agree to the Terms and Privacy Policy and to receive emails from Us Weekly Deal of the Day Taylor Swift’s Exact Kendra Scott […]
Chalamet, whose grandmother and mother are retired ballerinas, quickly walked back his comments and gave “all respect to the ballet and opera people out there.”
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“Damn, I just took shots for no reason,” the actor quipped.
Chalamet didn’t further address the controversy in the lead-up to the Oscars or at the ceremony itself.
Keep scrolling for a guide to all the ballet and opera mentions at the 2026 Academy Awards:
Conan O’Brien’s Monologue
Oscars host Conan O’Brien couldn’t resist adding in a joke about Timothée Chalamet’s comments in his monologue.
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“Security is extremely tight tonight. I just got to mention that,” O’Brien said. “I’m told there’s concerns about a tax from both the opera and ballet communities.”
O’Brien paused as the camera panned over to Chalamet, who coyly laughed off the reference.
“They’re just mad you left out jazz,” O’Brien added.
A Ballet Pioneer
Patrick T. Fallon / AFP
During the Sinners musical tribute, the cast was accompanied by Misty Copeland for its rendition of “I Lied To You.” (Copeland was the first Black principal at the American Ballet Theatre before her retirement in 2025.)
“That’s definitely how it seems, but it was not at all,” Copeland told Vogueahead of Sunday’s performance, denying her performance was a rebuttal to Timothée Chalamet. “I had agreed to do this before any of this stuff was happening and had blown up the way that it has.”
“We believe that art can change people’s souls,” Singh said in his speech. “Maybe it takes 10 years time but we can change society through art, through creativity [and] through theater and ballet … and also cinema.”
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Kevin O’Leary Is Still All-In on Timothee Chalamet
Timothee Chalamet.Julian Hamilton/Getty Images
On the red carpet, Shark Tank star Kevin O’Leary speculated that Timothée Chalamet’s comment wouldn’t have an impact on his chances at winning an Oscar.
“I just put 1,000 bucks on [betting app] Kalshi walking in here that he’s gonna win,” O’Leary told Variety. “Because I know the voting stopped long before that controversy happened. He’s a really great guy, his mother’s really nice. The kid is a great kid. He took a bum rap on that. By the way, he gave a lot of promo to opera houses and ballet.”
For months, One Battle After Another looked like the movie to beat. It had the reviews, the momentum, the pedigree, and the kind of across-the-board support that usually signals a Best Picture winner before envelopes are even opened, and now it is official.
One Battle After Another has won Best Picture at the 2026 Academy Awards, giving Paul Thomas Anderson the night’s biggest prize and closing out one of the strongest awards runs of the season. Written and directed by Anderson, the film stars Leonardo DiCaprio as a former political radical and single father, with a cast that also includes Regina Hall, Sean Penn, Teyana Taylor, Benicio del Toro, and Chase Infiniti.
The film entered the ceremony with 13 Oscar nominations, making it the second-most-nominated movie of the year, behind only Sinners. It was widely seen as one of the top contenders all season long, with major outlets and prediction-market coverage all pointing to it as a major frontrunner heading into Oscar night. By the time the Oscars arrived, the movie had already solidified itself as a consensus prestige heavyweight, with outlets repeatedly describing the Best Picture race as essentially a showdown between Anderson’s film and Sinners.
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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
Advertisement
🐦Birdman
🪙No Country for Old Men
Advertisement
01
What kind of film experience do you actually want? The best movies don’t just entertain — they leave something behind.
Advertisement
02
Which idea grabs you most in a film? Great films are driven by a central obsession. What’s yours?
Advertisement
03
How do you like your story told? Form is content. The way a story is shaped changes what it means.
Advertisement
04
What makes a truly great antagonist? The opposition defines the protagonist. What kind of opposition fascinates you?
Advertisement
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?
Advertisement
06
Which setting pulls you in most? Where a film takes place shapes everything — mood, stakes, what’s even possible.
Advertisement
07
What cinematic craft impresses you most? Every great film has a signature — a technical or artistic element that makes it unmistakable.
Advertisement
08
What kind of main character do you root for? The protagonist is the lens. Who you choose to follow says something about you.
Advertisement
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.
Advertisement
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?
Advertisement
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.
Advertisement
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.
Advertisement
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.
Advertisement
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.
Advertisement
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.
Advertisement
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.
Because today is Friday the 13th, let’s march our way through the iconic slasher franchise. Ch-ch-ch-ch. Ha-ha-ha-ha.
Advertisement
How Good Is ‘One Battle After Another’?
Collider’s review stated thatOne Battle After Another finds Paul Thomas Anderson working on his largest canvas yet — and proving that even at blockbuster scale, his filmmaking instincts remain as sharp as ever. Known for ambitious, character-driven films like Boogie Nights, Magnolia, There Will Be Blood, and Licorice Pizza, Anderson has spent decades refining a style that blends humor, emotional depth, and sweeping storytelling. With this sprawling new project, loosely inspired by Thomas Pynchon’s novel Vineland, he delivers something unexpected: a politically charged action film that still feels unmistakably like a Paul Thomas Anderson movie, as Ross Bonaime opined.
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“Anderson has executed an unbelievably rare feat: a big-budget studio action film that maintains his specific tone and style, with a film that feels essential to our troubled modern times. One Battle After Another is the type of film that only comes along a few times a generation, a masterfully crafted work that speaks to our present as a defining work of what it was like to live in our present era. Anderson does that with humor, tension, fear, and care, in a film that’s both one of the director’s and 2025’s best.”
One Battle After Another is streaming now on HBO Max. Stay tuned for more updates.
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