I may be an Oscars obsessive, but I’m no stranger to favorite films missing out on Academy Award nominations. With only so many slots to go around, some award-worthy movies are bound to be left out of the mix. Here are 15 of my favorite films from 2024 that received no nominations at the 2025 Academy Awards.
15. “Ghostlight” (Kelly O’Sullivan, Alex Thompson)
One of last year’s Sundance premieres, “Ghostlight” approaches a simple story with warmth and depth. The film follows a construction worker who joins a community production of “Romeo and Juliet” in the wake of his teenage son’s suicide. The film stars the real family of Keith Kupferer, Tara Mallen and Katherine Mallen Kupferer as a fictional family struggling to keep it together after unspeakable loss. “Ghostlight” walks right up to the line of being overly sentimental, instead finding genuine emotional depth in this story about utilizing art as therapy. It’s a simple film, but one of the most touching I watched last year.
“Ghostlight” is streaming on AMC+ and Acorn TV now. Read Taryn Snyder’s review of “Ghostlight” for Annenberg Media.
14. “My Old Ass” (Megan Park)
I never tire of coming-of-age movies. It seems that each year provides at least one stand-out representative of the genre. While I had a few favorites in 2024 (“Dìdi” and “Snack Shack” both make the list), I can’t shake the feeling of watching “My Old Ass” in a theater. All I knew about the film beforehand was that Aubrey Plaza was on the poster — I don’t even think I knew it was a coming-of-age movie. I quickly fell under the spell of Megan Park’s charming summertime comedy about a teenage girl who receives a visit from her future self weeks before she leaves home for college. I can’t wait to see more from Park and breakout star Maisy Stella in the future.
“My Old Ass” is streaming on Prime Video now.
13. “Juror #2″ (Clint Eastwood)
I hesitate to rely on the crutch of saying “They don’t make them like they used to,” but, in “Juror #2,” Clint Eastwood really taps into a kind of moviemaking that feels lost nowadays. The film’s premise (conveyed through one of the year’s best trailers) hooked me immediately: what if you sat on the jury for a crime you might have committed? My friends and family have debated the moral dilemmas found in Jonathan A. Abrams’ screenplay for months. Beyond this, there’s nothing flashy about the film — Eastwood directs it handsomely, Yves Bélanger shoots it well and the cast largely sells the material. Yet the film feels more deliberate and well-crafted than many of its contemporaries. Perhaps we really are starving for competently made, mid-budget, adult dramas. “Juror #2″ checks all the boxes.
“Juror #2″ is streaming on Max now.
12. “Hundreds of Beavers” (Mike Cheslik)
Many of the films on this list stand out to me because they reflect the depths of humanity. Some plumb the recesses of the soul to reflect who we are at our core, warts and all. Some display courage in bringing integral stories to the screen in a way unlike anything I’ve seen before. Some display such technical achievement that I could swear I was actually transported to another world.
In “Hundreds of Beavers,” a man (Ryland Brickson Cole Tews) literally hunts and kills hundreds of beavers. The dialogue-free, black-and-white film does not render the beavers through digital effects or trained animals; they are simply grown adults wearing mascot costumes. What starts as something rather tedious evolves into one of the greatest running gags I’ve seen on film — it just keeps going.
“Hundreds of Beavers” is streaming on Prime Video and can be watched for free on The Roku Channel, Hoopla, Tubi, Pluto TV, Freevee and YouTube.
11. “All We Imagine As Light” (Payal Kapadia)
“All We Imagine As Light” faced a tough challenge ahead of the Academy Awards. The Film Federation of India did not select the film to represent the country in the Best International Feature race at the Oscars, with the head of the selection committee calling the film “very poor technically.” Despite “All We Imagine As Light” winning the Grand Prix at Cannes, co-producing country France likewise failed to submit the film, choosing the controversy-laden “Emilia Peréz” instead. Though films like last year’s “Anatomy of a Fall” have broken into races without International Feature selection before, this often proves to be an uphill battle.
Hopefully, history will remember “All We Imagine As Light” without these accolades. In her debut narrative feature, writer/director Payal Kapadia creates an aching, quiet portrait of life in India for her central female characters. One moment in the film featuring only a woman and a rice cooker stands out as one of the finest scenes of the year, devoid of dialogue. Kapadia has immediately affirmed herself as a voice to watch over the coming years. If “All We Imagine Is Light” really is “very poor technically,” I can only imagine what a technically strong film might look like.
“All We Imagine As Light” is now available for digital purchase and rental. Read Divya Subbiah’s review of “All We Imagine As Light” for Ampersand.
10. “Red Rooms” (Pascal Plante)
One of the bleakest films of the year, “Red Rooms” follows fashion model Kelly-Anne (Juliette Gariépy) as she falls into deeper and deeper obsession over the trial of a man accused of murdering three teenage girls on camera. Writer/director Pascal Plante keeps the audience at a distance from Kelly-Anne — she dominates screen time, yet she feels like something of a stranger at the film’s conclusion. All we know is her obsession. Calling “Red Rooms” a take-down of true crime culture oversimplifies its brilliance; this film shows how dehumanization and voyeurism are inextricable in our current world.
“Red Rooms” is streaming on Shudder and AMC+ now.
9. “Evil Does Not Exist” (Ryûsuke Hamaguchi)
Ryûsuke Hamaguchi’s “Drive My Car” made waves at the 2022 Academy Awards, securing four nominations and winning Best International Feature. In “Evil Does Not Exist,” Hamaguchi creates a film both equally contemplative and wholly unique from his award-winning feature. Originally proposed as a short film with a live score, “Evil Does Not Exist” follows a father (Hitoshi Omika) in a Japanese village as he comes into contact with representatives seeking to erect a “glamping” site in the area. Striking imagery, an immaculate score and a painfully real community meeting centerpiece have kept “Evil Does Not Exist” high in my 2024 rankings. I feel this movie is growing on me day by day.
“Evil Does Not Exist” is streaming on The Criterion Channel now.
8. “I Saw the TV Glow” (Jane Schoenbrun)
Rave reviews for “I Saw the TV Glow” flooded my texts and Twitter feed long before I managed to see the movie for myself. Though it took me two watches to fully connect with the film, the ideas presented in Jane Schoenbrun’s gender dysphoria horror have refused to leave my head. The film follows Owen (Justice Smith) across a decades-long journey of self-discovery spurred by a strong connection to his favorite TV show. “I Saw the TV Glow” overflows with a singular directorial vision, one that heralds an artist to watch for years to come. Striking visuals and a stellar original soundtrack increase the impact of the film, a horror movie about realizing you’re not living the life you’re meant to lead. Years down the line, I struggle to see how “I Saw the TV Glow” will not be remembered as one of 2024′s most impactful films. Whatever Schoenbrun does next, I’m there.
“I Saw the TV Glow” is streaming on Max now.
7. “Hit Man” (Richard Linklater)
After previously working together on “Fast Food Nation,” “Everybody Wants Some!!” and “Apollo 10 ½,” Glen Powell and Richard Linklater reunited last summer for one of the year’s best comedies. “Hit Man” saw Powell and Linklater as co-writers for the first time, loosely adapting a 2001 Texas Monthly article by Skip Hollandsworth about a man who pretends to be a contract killer to catch would-be criminals for the police. Powell gives a hilarious performance as Gary Johnson and his various hitman personas. For much of the film, Gary plays the part of the ultra-suave Ron, striking up a relationship with Madison (Adria Arjona) under false pretenses. The pair deliver palpable chemistry, both romantic and comic, with one set piece involving a cell phone being one of 2024′s most memorable scenes. Beyond the humor and romance, Powell and Linklater strike at interesting themes of identity and performance that have stuck with me since the film was released in June.
“Hit Man” is streaming on Netflix now. Read Kaitlyn Huamani’s review of “Hit Man” for Annenberg Media.
6. “Hard Truths” (Mike Leigh)
Mike Leigh’s latest film stars Marianne Jean-Baptiste as Pansy, a woman burdened with pain and who seemingly lacks the ability to be happy. We all know a Pansy — someone ready to blow up at the most minor inconvenience, spending each day in constant battle with the rest of the world. Jean-Baptiste’s performance is one of the year’s best. In “Hard Truths,” Leigh and Jean-Baptiste portray this character with both humor and understanding, delivering an equal number of laugh-out-loud rants and devastating moments of sobriety. This movie made me miss people in ways I didn’t think I could.
“Hard Truths” is now available for digital purchase and rental. Read Divya Subbiah’s review of “Hard Truths” for Ampersand.
5. “The Count of Monte-Cristo” (Alexandre de La Patellière, Matthieu Delaporte)
Every once in a while, I sit in a theater and begin to literally tear up, thinking to myself, “I love movies so much.” The last time this happened, I was seated next to one of my best friends at the Americana on New Year’s Day watching “The Count of Monte-Cristo.” This film feels like the kind of swashbuckling epic we rarely get anymore, a sweeping spectacle filled with picturesque locations, gorgeous costumes and an infectious energy. Pierre Niney leads the film as the titular Count and all his various personas in a performance both playful and emotive. I grinned from ear to ear for the duration of “The Count of Monte-Cristo,” one of the only films from 2024 I witnessed receive applause in an AMC screening.
“The Count of Monte-Cristo” is now available for digital purchase and rental.
4. “From Ground Zero” (Various)
I struggle to put into words how remarkable and moving I found “From Ground Zero.” Helmed by Rashid Masharawi, “From Ground Zero” features 22 short films from 22 Palestinian voices, each in some way reflecting their current life in Gaza. The films are all between three and six minutes long, with various shorts utilizing documentary, narrative and animation techniques. At times, it’s hard to tell whether the short you’re watching is scripted or documentary — this ceases to matter when they’re all based on a tragic reality. These short films are heartbreaking and supremely affecting, a collective artistic expression that mourns the lives lost in an oppressive occupation. There are a handful that stayed firmly in my mind since I watched them. At the same time, “From Ground Zero” depicts beauty, humanity and resilience amid unfathomable horror, highlighting the powerful art that can be made in the darkest of settings. It may not have received the Best International Feature nomination, but I encourage anyone to seek “From Ground Zero” out and watch the films of these resilient artists.
“From Ground Zero” is now available for digital purchase and rental.
3. “Daughters” (Angela Patton, Natalie Rae)
Sundance 2024 ended up being highly predictive of this year’s Best Documentary Feature race, with all but one film (“No Other Land”) premiering at the festival. While I expected this to be the case, I had anticipated “Daughters” being one of the four nominees out of Sundance. In this documentary, directed by Natalie Rae and Angela Patton, a handful of young girls and their incarcerated fathers prepare for a Daddy-Daughter Dance at a Washington, D.C. jail. While this subject could easily swerve into something saccharine or disingenuous, Rae and Patton portray the topic with an equal measure of honesty and empathy. “Daughters” shows the audience both the build-up and the come-down around the central event, utilizing the dance as a narrative centerpiece that brought tears to my eyes. The only film that made me cry more in 2024 than “Daughters” was “The Remarkable Life of Ibelin” — another incredible documentary that sadly missed out on a nomination.
“Daughters” (and “The Remarkable Life of Ibelin”) can be found on Netflix now.
2. “Furiosa: A Mad Max Saga” (George Miller)
Audiences and critics celebrate few films from the 21st century as much as they do “Mad Max: Fury Road.” The action epic won six Academy Awards out of 10 nominations, earned $380 million, scored a 97% out of 439 reviews on Rotten Tomatoes and currently sits at a 4.2 on Letterboxd. While action movies rarely (if ever) meet the heights of “Fury Road,” “Furiosa: A Mad Max Saga” comes closer than most. Here, George Miller once again delivers a breathtaking feat of action filmmaking, dropping intricate setpieces into a compelling narrative about legends and revenge. I’m astounded that “Furiosa” didn’t appear on any of the Academy shortlists — the chilling opening chapter alone guarantees it a spot on my Best Sound list.
“Furiosa: A Mad Max Saga” is streaming on Netflix and Max. Read Ethan Huang’s review of “Furiosa” for Annenberg Media.
1. “Challengers” (Luca Guadagnino)
In another world, I simply call this article “Justice for ‘Challengers.’” To explain everything I love about this movie would take hours. Director Luca Guadagnino and screenwriter Justin Kuritzkes crafted an overwhelming film about the mind games, resentment and sexual tension that builds between three tennis players who can’t stand (or stay away from) each other. The film itself takes on the energy of a tennis match — conversations play like rallies. I saw “Challengers” on the last day it was available in Wichita, and I hated that I couldn’t return the next day.
After months of being largely left out of the awards conversation, I expected “Challengers” to go home empty-handed; I’ve just never understood why. Mike Faist, Josh O’Connor and Zendaya (who gave two award-worthy performances between this and “Dune: Part 2″) would all make deserving acting nominees. Kurtizkes writes the kind of popular, tight, energetic script that often sneaks into the Academy’s screenplay categories. Electric editing by Marco Costa, kinetic cinematography from Sayombhu Mukdeeprom and a pulsating, Golden Globe-winning score from Trent Reznor and Atticus Ross give the film the feeling of a rave. I struggle to see why all of these (on top of Best Picture and Best Director) would be missed.
With “Challengers” releasing only months before Guadagnino’s “Queer,” many — myself included — expected the latter entry to speak better to the Academy’s sensibilities. To see both entries blank on nominations baffles me. Guadagnino delivered two exceptional films in 2024; I trust history will remember them with or without awards.
“Challengers” is streaming on Prime Video, Fubo and MGM+. Read Jack Hallinan’s review of “Challengers” for Annenberg Media.