It’s lights, camera, actionat the ninety-sixth Academy Awards, which just started in Los Angeles. How many Barbenheimer jokes will there be? Could Bradley Cooper finally win an Oscar for “Maestro”? Will Messi, the dog from “Anatomy of a Fall,” make an appearance?Join us at newyorker.comfor live coverage by our reporters and critics—including dispatches from Michael Schulman, who will be inside the Dolby Theatre sharing updates all night long.
The Oscars: Who’ll Win, Who Should Win, and Who’s Overdue
More than in most years, the doctrine of dueness has dominated the 2024 awards season.
ByJustin Chang
The Front Row
Now That the Oscar Nominations Are in, Here’s What Deserves to Win
This time, for a change, several of the year’s best movies found favor with the Academy.
ByRichard Brody
Trivia Break: Can you guess the identities of these nine Oscar-winning actors, past and present?Play our Oscars quiz pack »
More on the Nominees
The Current Cinema
How “Oppenheimer” and “Barbie” Bring Monumental Figures to Life
Christopher Nolan sets the physicist in a swirl of Cold War conspiracy, and Greta Gerwig tries to imbue a story about the doll with a feminist critique of capitalism.
ByAnthony Lane
The Current Cinema
Grand Appetites and “Poor Things”
In Yorgos Lanthimos’s film, Emma Stone plays a young woman who was created by a scientist, and is forever tasting the world—eating, dancing, travelling, having sex—as if it were freshly made.
ByAnthony Lane
The Current Cinema
“Anatomy of a Fall” Is a Magnificently Slippery Thriller
In Justine Triet’s film, starring Sandra Hüller and Samuel Theis, a marriage and a death are subject to the minutest scrutiny.
ByAnthony Lane
The Current Cinema
Celine Song’s “Past Lives” Is a Calm but Moving Début
This story of childhood friends from Seoul who reunite as adults in New York is less a love story than a meditation on transplantation and transience.
ByAnthony Lane
The Current Cinema
“The Zone of Interest” Finds Banality in the Evil of Auschwitz
Jonathan Glazer’s film about the family life of the Nazi commandant Rudolf Höss is calmly composed and fiercely controlled.
ByAnthony Lane
The Current Cinema
“Maestro” Is a Leonard Bernstein Bio-Pic as Restless as Its Subject
Bradley Cooper stars in his own film about the great conductor-composer, but it is Carey Mulligan, as Bernstein’s wife, Felicia, who walks away with the movie.
ByAnthony Lane
The Current Cinema
Dramatic and Moral Ambitions Clash in “Killers of the Flower Moon”
Martin Scorsese’s epic about the Osage murders honors Indigenous suffering, but the action keeps getting pulled back into the orbit of the white, male perpetrators.
ByAnthony Lane
The Front Row
The Nineteen-Seventies of “The Holdovers” Is Conveniently Sanitized
There’s something appealing about the nostalgia of Alexander Payne’s film, but also something contrived.