Our anonymous Bafta voters reveal what has stood out for them so far in their viewing, and what hasn’t impressed as much, as the early crucial voting windows open up.
Distribution executive, female, Bafta voter
Which films and performances have captured your attention so far?
Anora stood out for me. It’s hugely entertaining with excellent performances. It’s rare to find a movie that strikes the balance of being fun and engaging from start to finish.
Has anything not lived up to the buzz?
The Substance didn’t quite deliver on its promise. While the concept initially seemed intriguing, I found I couldn’t engage with the story or its characters. I felt there was a lack of emotional depth overall.
Bafta-nominated screenwriter, male, Bafta voter
Which films and performances have captured your attention so far?
Saturday Night and September 5 are both about the drive and passion it takes to make history-making TV, and both feature incredible ensembles. I hope Kneecap properly breaks through with a ton of nominations.
It would be a crime if Demi Moore isn’t nominated for her fearless turn in The Substance; likewise Kieran Culkin for A Real Pain. Jeremy Strong was brilliantly odd in the otherwise slightly unnecessary The Apprentice. Gladiator II improved every time Denzel [Washington] came on screen. I was really impressed by Lily-Rose Depp in the fantastically unsubtle Nosferatu, which should be nominated in every production and sound design category.
If you had told me I was going to tear up watching 90 minutes of other people playing Grand Theft Auto, I’d have assumed you’d lost it, but I totally adored Grand Theft Hamlet.
I thought no animated film would surpass Inside Out 2 until I watched The Wild Robot – a beautiful, nuanced, heart-wrenching and funny film about how hard it can be being both a parent and a child.
Producer 1, female, Bafta voter
Which films and performances have captured your attention?
Kneecap is a delightful film – so funny, with good music and great performances; explosive from beginning to end. I left the cinema feeling sated. And Anora features a fantastic performance from Mikey Madison. It’s a rollercoaster of a movie: frenetic and funny. I wasn’t sure how it would end but the final scene was very satisfying.
Anything that has disappointed?
Queer. I found it dull, meandering and way too long.
Composer, male, Bafta and Ampas voter
Which films and performances have captured your attention?
The Brutalist is a spectacular piece of filmmaking, and Adrien Brody is amazing in it. Everything about the film is exciting – the music, cinematography, direction… I love the insanity of The Substance. It’s been a good year for filmmakers taking big swings. I didn’t love Emilia Pérez but I loved what it was, and I love the risk-taking by Jacques Audiard. Five minutes in, I was like, “What the fuck?” – it was so different to his other films.
I thought Edward Norton’s performance in A Complete Unknown was fantastic.
Anything that has not lived up to the hype?
I really wanted to love Gladiator II. The costumes are fantastic; the fact that Ridley [Scott] is making movies like that at 87 is insane; and the fact he has never won an Oscar is more insane. Should he win it for Gladiator II? Probably not. Should they have given him a bunch already? Yes.
Talent agent, female, Bafta voter
Which films and performances have captured your attention so far?
The Brutalist is a masterpiece, with extraordinary performances by Adrien Brody and Felicity Jones. It is beautiful filmmaking: perfection. I thought Joy was a delight – so poignant and timely, just a pleasure to watch. It made me laugh and it made me cry. Not a perfect film but worth every minute.
Has anything left you cold?
I was underwhelmed by Anora. I felt Mikey Madison was exploited. Nothing new to see here. My attention definitely waned.
Producer 2, female, Bafta voter
Which films and performances have captured your attention so far?
No Other Land pulled me in – I was hooked by the central characters. Shahana Goswami in Santosh delivered such a measured, nuanced performance; it stayed with me long after seeing it at London Film Festival.
Something about Pamela Anderson in The Last Showgirl felt raw and so true, but the film itself isn’t the sum of its parts. I enjoyed the frenetic madness of Saturday Night and I really believed the characters portrayed – Belushi, Crystal, Chase – were younger versions of themselves. Kneecap was pure magic: every element, every performance – just brilliant. And what a duo Olivia Colman and Jessie Buckley are in Wicked Little Letters.
Anything that has not lived up to the buzz?
It pains me to say it, especially about indie British cinema, but a few of the hotly anticipated follow-ups from some truly promising filmmakers lacked the punch of their debuts. I can’t help wonder why, but I won’t name and shame.
Joker: Folie à Deux left me scratching my head, trying to work out what audience it was aiming for. And Small Things Like These was everything it should have been in terms of fidelity to the book and the profound themes it tackled, but even at just 98 minutes, it felt both slow and overly self-indulgent.
Bafta-nominated writer/director, male, Bafta voter
Which films and performances have captured your attention so far?
Conclave is the film of the year for me: a timely story that grapples with weighty themes and features pitch-perfect writing, directing and performances. It’s the only film I’ve seen this year that kept me engaged for every minute of its runtime.
The Brutalist excels. Great to see some ambitious grown-up filmmaking in the PT Anderson tradition. At times the length felt a little indulgent, but not egregiously so. I suspect it will reward a second watch for those who have the patience.
Kneecap was the surprise package. I had no expectations going in and it blew me away – gives you the same shot of rebellious energy that Trainspotting gave us in the ’90s. It pulls you along and reminds you what youth cinema can and should be: something that kicks down establishment walls and makes you look at life differently.
The Substance was also a stand-out: a modern feminist update of the Jekyll and Hyde trope, and it’s exactly how reinterpretations of classic tales should be handled. Some didn’t like the OTT ending, but I went with it. The best body horror since The Fly.
Anything that has not lived up to the buzz?
Blitz had some bravura sequences, but it felt episodic and narratively underpowered. Also September 5, which is about people reacting to dramatic events that are happening hundreds of yards away from where the camera is actually pointing.
No comments yet