Oscars Reflect National Anxiety as ‘One Battle After Another’ Takes Best Picture

The 98th Academy Awards ceremony showcased films that directly addressed current political turmoil and global conflicts. Paul Thomas Anderson's 'One Battle After Another' won six Oscars including Best Picture, with many winners speaking about war, children's futures, and Hollywood's uncertain landscape.

LOS ANGELES (AP) — Children swarmed onto the Dolby Theatre stage as Conan O’Brien began hosting the 98th Academy Awards, setting the tone for a ceremony where ‘One Battle After Another’ claimed the top prize and youthful energy seemed to dominate the evening.

An atmosphere of uncertainty about both immediate concerns and future generations hung over this year’s Academy Awards, influenced by ongoing conflicts, political upheaval, and questions about cinema’s direction in an AI-driven era. These Oscars carried a heavy dose of anxiety, with presenters and winners attempting to find hope amid widespread concerns.

‘We honor tonight not only cinema, but the principles of worldwide artistic expression, teamwork, perseverance, strength and that most uncommon trait in today’s world — hope,’ O’Brien declared during his opening remarks. ‘We will celebrate tonight. Not because everything is perfect, but because we continue working and hoping for improvement.’

The previous time the Academy Awards occurred immediately following a U.S. military engagement in the Middle East was in 2003, when ‘Chicago’ earned best picture honors just days after the Iraq War commenced.

However, Sunday evening told a different tale. The ceremony’s major victor, Paul Thomas Anderson’s ‘One Battle After Another,’ a multigenerational story exploring revolution, immigration detention, and white supremacist themes, seemed perfectly suited for current times. The production, which earned six Academy Awards, succeeded partly because it resonated with contemporary issues.

When questioned about his film’s relevance and America’s trajectory during backstage interviews, Anderson, still processing his first Oscar victories — including best director and best adapted screenplay — after three decades in filmmaking, seemed momentarily surprised. ‘I assumed we were here to celebrate,’ he quipped.

However, Anderson, who had mostly refrained from discussing his movie’s themes directly during the awards circuit, acknowledged that his film drew strength from its contemporary relevance.

‘Our production clearly contains numerous connections to daily news events,’ Anderson stated.

‘Regarding future developments, I’m uncertain,’ he continued with a shrug. ‘However, I understand that our story concludes with our protagonist, Willa, departing to continue battling malevolent influences, and, as I mentioned in my acceptance speech, working to restore basic reasoning and moral behavior to prominence.’

The relationship between screen narratives and real-world events created an appropriately unsettled atmosphere for the 98th Oscars. For perhaps the first time in years, cinema and the Academy Awards seemed aligned with current circumstances. This alignment appeared not only in ‘One Battle After Another,’ but also in the post-apocalyptic journey film ‘Sirāt,’ the Iranian vengeance story ‘It Was Just an Accident,’ and Ryan Coogler’s ‘Sinners,’ examining forces that exploit Black communities.

While ‘One Battle After Another’ and ‘Sinners’ (four victories, including best actor for Michael B. Jordan and, marking a historic first for women and Black cinematographers, best cinematography for Autumn Durald Arkapaw) potentially indicated promising prospects for high-budget, original American cinema, their success also highlighted Hollywood’s rapidly changing landscape.

Warner Bros., the studio distributing these films, collected a record-matching 11 Academy Awards. David Zaslav, in a Monday staff communication, described it as ‘an extraordinary achievement for Warner Bros. Discovery.’ This triumph might also represent the studio’s final major victory as an independent entity. Warner Bros. has agreed to join with David Ellison’s Paramount Skydance in a transaction valued at $111 billion.

The entertainment industry, having already witnessed Amazon’s acquisition of MGM and Disney’s purchase of 20th Century Fox, understands that consolidation inevitably reduces employment opportunities. Los Angeles film production has declined dramatically in recent years.

O’Brien himself suggested his position might be temporary, describing himself as ‘the final human presenter’ of the Oscars, which will transition from ABC to YouTube in three years. Through comedic segments during the broadcast, O’Brien highlighted cinema’s current challenges. One sequence mocked classic widescreen movies reformatted for smartphone-friendly vertical viewing. Another imagined ‘Casablanca’ — coincidentally a Warner Bros. production — simplified with constant plot explanations for distracted streaming viewers.

Consequently, promoting Hollywood’s traditional glamorous image has become significantly more challenging during the industry’s premier evening. The Oscars now resemble an embattled motivational speech encouraging continued perseverance. Beyond the discussion surrounding Timothée Chalamet’s concerns about movies potentially becoming as niche as opera or ballet lay genuine worries about this major entertainment medium’s survival.

‘The cinema experience faces some vulnerability currently,’ director Joachim Trier explained to reporters after earning best international film for ‘Sentimental Value.’ ‘Therefore, I feel tremendous pride that audiences have supported our movie.’

Numerous winners avoided political commentary. Neither ‘Iran’ nor President Donald Trump’s name was mentioned during the televised ceremony, though presenter Jimmy Kimmel came close. Before announcing the best documentary category, Kimmel sarcastically noted the omission of ‘Melania.’

‘Oh, wow,’ Kimmel remarked. ‘He’s going to be upset his spouse didn’t receive a nomination for this.’

Following an awards season that frequently avoided political topics, many speakers were more direct. Presenter Javier Bardem approached the microphone and declared clearly: ‘No to war, and free Palestine.’ During the best documentary Oscar acceptance for ‘Mr. Nobody Against Putin,’ Pavel Talankin, the educator featured in the film, spoke through translation: ‘For our tomorrow, for all our young ones, end these conflicts immediately.’

Jessie Buckley, the best actress recipient for her portrayal of a mourning mother in ‘Hamnet,’ similarly focused on children, particularly her eight-month-old daughter Isla ‘who is completely unaware of these events and is likely dreaming about her next feeding,’ Buckley shared.

Buckley expressed more optimism than most regarding future possibilities. From the podium, she told her spouse she desired ‘20,000 additional children’ with him. Yet repeatedly, Sunday’s award recipients found difficulty expressing appropriate sentiments for an era of deteriorating American unity and expanding warfare, instead returning to discussions about the world younger generations will receive. Trier, during his acceptance remarks, referenced James Baldwin.

‘I want to conclude by echoing the brilliant American author James Baldwin, who reminds us that every adult bears responsibility for every child,’ he stated. ‘Let’s avoid supporting politicians who don’t seriously consider this obligation.’

Ultimately, ‘One Battle After Another’s’ victory seemed increasingly certain since it clearly reflected many people’s current concerns. Anderson’s movie concludes with its young lead character, portrayed by Chase Infiniti, hurrying toward a demonstration while Tom Petty’s ‘American Girl’ begins playing.

‘How do you handle the situation when your parents, who carry their own wounds, have passed down a challenging legacy?’ Anderson explained backstage. ‘That represents our narrative.’