according to me.

While 2025 has not exactly been a great year for movies, it has been one of the strongest years for performances that I can remember in quite some time. Performances that might have landed comfortably in the sixth, seventh, eighth, or even ninth spot this year would have easily topped lists in many previous years.

Ranking these turned out to be a near-impossible task, so bear with me. I may have cheated a little toward the bottom of the list, but sue me. Seriously, serve me with papers. Send a process server to my house. Anyway, here is what I ended up with.

20. Andrew Scott for Blue Moon

While everyone is raving about Ethan Hawke’s performance in Blue Moon, I’m over here asking, “What about Andrew Scott?” Hawke is very good in the film, no question, but Scott is on another level. When he’s on screen, your eyes stay on him, and it is only in the scenes Hawke shares with Scott that you truly begin to understand what makes Hawke’s character tick.

Scott plays Hawke’s former creative partner, a supporting role that amounts to roughly three substantial scenes, yet he makes every one of them count. As the legendary Richard Rodgers of Rodgers & Hammerstein, Scott subtly but powerfully conveys the frustration and deep-seated anger of an artist and friend who has been forced to endure a toxic creative partnership.

19. Billy Crudup for Jay Kelly

Jay Kelly was about 92% lame. The remaining eight percent, the part that was actually interesting, consisted of the seven to ten minutes Billy Crudup was onscreen.

In Jay Kelly, Crudup plays a bitter former classmate of George Clooney’s aging movie star. The two reunite on the streets of Los Angeles and duck into a bar for drinks. What begins as a seemingly friendly catch-up between old acquaintances quickly curdles into something far more acidic, as Crudup’s character reveals a deep resentment toward Clooney for taking “everything” from him.

It is an absolutely thrilling, intensely charged scene in an otherwise conflict-free and maudlin film. By the end of the thoroughly underwhelming Jay Kelly, you find yourself wishing the movie had been about Crudup’s character instead.

18. Diane Kruger for The Shrouds

Diane Kruger goes full Eddie Murphy in The Shrouds, taking on three distinct and genuinely compelling female roles in Canadian auteur David Cronenberg’s examination of grief and the extremes it can drive people toward.

The film follows a grieving widower and tech genius, played by French actor Vincent Cassell, who invents a technology that allows family members to view the decomposition of their loved ones inside their caskets after burial. Kruger plays Cassell’s deceased wife, as well as her very much alive veterinarian twin sister. She also embodies the avatar for Cassell’s home computer system, based on Cassell‘s dead wife, a presence that creepily registers as a character in its own right.

This is an impressive trio of performances that reveal a range I never knew Kruger, best known as Bridget von Hammersmark in Inglourious Basterds, possessed.

17. Sonequa Martin-Green for My Dead Friend Zoe

The movie itself is mostly forgettable, but Sonequa Martin-Green’s lead performance as a young woman suffering from severe PTSD after the death of her best friend and fellow soldier, Zoe, is absolutely incendiary.

It is a simple, honest, and deeply empathetic performance, one that frequently lifts the film above its shallow and overly saccharine story beats. She even manages to upstage her costars, which is never an easy thing to do, especially when you are acting opposite Mr. Amy Madigan.

16. Frank Dillane for Urchin

The kind of performance I was way more obsessed with in my 20s than I am now: young male actors debasing and humiliating themselves (often naked for long stretches, or at least intermittently) to show just how fucking far they’re willing to go in the extreme sport we call METHHHHOOODDD ACTIIIIIIING! 

The very recognizable Frank Dillane plays a houseless addict wandering the streets of London, searching for his next fix or, failing that, somewhere to sleep. The film is also the debut of Babygirl and future John Lennon himself, Harris Dickinson, who co-stars as another “street urchin.” Dickinson is extremely competent here, but the film as a whole lacks a satisfying narrative. You’re essentially just watching this guy drift from one bleak situation to the next. It’s all very nuanced and very real, but not especially exciting, and the events never really heighten or build on one another. And let’s face it, Naked and David Thewlis did it wayyyyy better 30 years ago. 

Far and away the best thing about the movie is Dillane, who completely throws himself into the role, creating a throbbing, canker-sore-of-a-human-being performance. You’ve definitely seen him before: he played young Tom Riddle in the later Harry Potter films. He’s also the son of actor Stephen Dillane, whom you all know as Stannis Baratheon on Game of Thrones.

15. Michael B. Jordan for Sinners

Playing twins isn’t easy. Just ask Jeremy Irons or the Olsen twin that actually exists. You either play them too similarly, so the only way to tell them apart is by their costume, or you go too broad and they turn into caricatures.

Michael B. Jordan manages to pull it off by creating two fairly nuanced people. They’re clearly similar because they’re twin brothers, but instantly recognizable as separate individuals. And if you still get confused, the costume designer very kindly puts them in different hats.

My biggest gripe with the performance isn’t really Jordan’s fault. It’s a character issue. We dive into these guys hard in the first fifteen minutes, but I still left Sinners wishing they’d been better developed and more three-dimensional. I never fully connected to either of them emotionally, despite Jordan doing everything he possibly could.

14. Ralph Fiennes for 28 Years Later…

Danny Boyle’s 28 Years Later has a lot more on its mind than zombies. It’s far more interested in questions like what adequate healthcare even looks like in a post-apocalyptic world, or whether the end of civilization does anything to curb our appetite for vices. It’s unique amongst zombie pictures, and its willingness to wander into weirder thematic territory makes it all the better. 

That same impulse carries over into its characters, especially, Dr. Ian Kelson, played brilliantly by Ralph Fiennes. From a distance, Kelson appears completely unhinged: shirtless, smeared head to toe in iodine to ward off zombies, roaming the countryside collecting human skulls for what he describes as his “bone temple”. But the more time you spend with him, the clearer it becomes that he’s actually the most thoughtful humanist in the entire film.

Kelson only shows up for the final thirty minutes or so, but he leaves a strong enough impression that I’m genuinely excited to see what becomes of him in the next sequel, The Bone Temple.

13. Delroy Lindo for Sinners

The best performance in Sinners, by a considerable margin, comes from one of the most underappreciated character actors working in film today. You’d be hard-pressed to watch a movie from the ’90s or early 2000s without Delroy Lindo popping up somewhere. He showed up reliably in milquetoast dramas and action flicks like Gone in 60 Seconds, Ransom, Romeo Must Die, Get Shorty, and The Cider House Rules, while delivering meatier, more compelling work in Spike Lee joints like Crooklyn, Clockers, and Malcolm X, where his talents were actually allowed to shine. 

Five years ago, Lindo gave what is arguably the greatest performance of his career in Spike Lee’s messy but fascinating Vietnam reunion drama Da 5 Bloods. The movie landed with a fart during awards season, and as a result, Lindo’s brilliantly thorny, deeply emotional lead performance was quietly swept under the rug. Depressingly, the same thing appears to be happening again this year with the wildly popular Sinners. With all the awards buzz going to Michael B. Jordan, Wunmi Mosaku, and Miles Caton, I’m honestly shocked it’s not landing on the actor who gives the best performance in the film, and who also happens to be the most seasoned, experienced artist in the cast and someone who has never once received an Academy Award nomination. What a shame. 

In Sinners, Lindo plays an exceptionally talented but washed-up blues musician in the dark, desperate throes of alcoholism. He creates such a lived-in presence that, by the end, he becomes one of the most sympathetic characters in a group of people essentially doomed to become vampire food. If the Academy doesn’t wake up and nominate Delroy Lindo, they deserve to be eaten by vampires. Hell, I’ll fucking eat them. 

12. Jacobi Jupe for Hamnet

Acting is hard enough as a fully grown adult. Is it harder for kids? Easier? I honestly don’t know. What I do know is that it’s always more impressive, because it’s more impressive when kids are able to do anything as well as adults. There’s literally dozens of shitty network shows dedicated to this idea. While there were a lot of very strong child performances in movies and television this year, none were nearly as amazing or as heartbreaking as Jacobi Jupe’s title role in Hamnet.

Which is interesting, considering his older brother Noah Jupe gave one of the most astonishing child performances I have seen in years, six years ago in Honey Boy, Shia LaBeouf’s very public act of childhood self excavation. Jacobi Jupe’s puffy little baby face is endlessly expressive, and it goes a long way toward helping us understand the pain and agony experienced by the film’s two adult leads.

It is a short performance, but never small. Jupe has maybe fifteen or twenty minutes of total screen time, but he sticks with you for the entire film, practically burned into its celluloid. You can almost see that face when the gut wrenching final scene arrives. Noah Jupe also appears, playing an actor portraying Hamlet in the original stage production of Hamlet. I wonder who originated the lead role of Hamlet and if they had bleached blonde hair like this guy.

11. Lee Byun-hun for No Other Choice

Back in 2000, thirty-year-old Lee Byung-hun starred in Joint Security Area, the debut feature from Park Chan-wook, playing a fresh-faced young soldier stationed at the DMZ. Twenty-five years later, in Park’s tenth film, No Other Choice, Lee is now a man deep into middle age, hardened and embittered by a lifetime of soul-crushing work. Then one day, thanks to some stupid corporate dipshit, he gets laid off, throwing his life into complete upheaval.

The film makes a point of explaining that in South Korea, losing your job is colloquially referred to as “off with your head,” because it’s so serious and debilitating they might as well shoot slice your freakin’ head off. Obviously, getting laid off in our country is no picnic either. It can mean months, sometimes years, of scrambling/frantic groveling to land another gig. Park does an excellent job satirically laying out the mental, emotional, and financial anguish that comes with unemployment, while Lee conveys these complicated feelings with little more than a glance or a subtle gesture.

When his character finally snaps after being unable to provide for his family, and a managerial job opens up that he’s technically qualified for, he devises a plan: murder every applicant who’s more qualified than he is. That’s the moment No Other Choice pivots from sharp social satire into a vicious thriller. As our protagonist murders innocent person after innocent person, we watch him lose any remaining sense of self, slowly fading away into half a human being.

If all of this sounds like No Other Choice might be too bleak to sit through, it really isn’t. Park’s direction and Lee’s performance strike a near-perfect balance between pitch-black humor and genuine insight, keeping the film from ever feeling like a chore. Lee is doing an incredible amount of work here, a true thespian juggling act if I’ve ever seen one, and only in a year this competitive and absolutely stacked with astonishing performances would this have landed anywhere outside my Top 10.

10. Amy Madigan for Weapons

SPOILERS SPOILERS SPOILERS SPOILERS

My first glimpse of Gladys, I thought she was a clown. I genuinely wondered why there was a clown in this movie, and why it looked like it had robbed a Goodwill in Boca Raton. Then you see this thing up close and realize it’s a woman. Well, technically, a witch. Are witches human? Are they gendered? Am I being problematic? Anyway.

Gladys is terrifying but also kind of fascinating to behold: wig on backward, gaudy earrings, lipstick smeared on like Buffalo Bill, clutching a handbag so enormous it feels like it has its own gravitational pull. Her demeanor is as aggressive as her wardrobe. She pretends to be nice, but not very hard, it’s immediately obvious she’s a total bitch underneath it all. She also eats kids’ souls.

Anyway, she’s Aunt Gladys, the surprise villain of Zac Cregger’s Weapons and she’s played brilliantly by veteran actress Amy Madigan. You probably know her from Field of Dreams, HBO’s short-lived Carnivàle, or from not standing and clapping for Elia Kazan at the Oscars because he ratted out Communist Party members. Or maybe you know her as Ed Harris’s long-time wife.

Through just a handful of incredibly intense scenes, Madigan manages to flesh out one of the most terrifying and genuinely unique movie monsters we’ve seen in quite some time. One that thinks, talks, and isn’t just a mindless killing machine.

09. Timothée Chalamet for Marty Supreme

If there were an Oscar for best underdog movie marketing campaign, Timmy would walk away with it this year, no contest. And yeah, this also feels like the moment the Academy finally decides to take him seriously. He’s 30 now, which in Hollywood terms is practically middle-aged, and the kid has been putting in the work long enough to earn his flowers.

More importantly, this is the best and most vicious performance of Timothée Chalamet’s career. He ditches the sensitive heartthrob routine and plays Marty Mauser as a full-blown sociopathic asshole. A fast-talking, charming, completely self-absorbed con artist who weaponizes confidence to sell the fantasy that he is destined to become an international ping pong star.

Marty is not likable, and he is not meant to be. The only reason you tolerate him is because he works harder than everyone else in the room and is willing to endure real pain to get what he wants. As a young, lower-class Jewish man in 1950s Brooklyn, he has to claw his way into opportunity, and he does it by leaving wreckage everywhere he goes. Chalamet never asks you to forgive him. Marty burns every bridge in sight and only ever cares about himself, which is exactly why the performance works.

08.Sentimental Value‘s Borg Family

Inga Ibsdotter Lilleås, Renate Reinsve & Stellan Skarsgård

Fucking sue me. I’m lumping three magnificent performances into one spot. Yes, part of that is so I can fit them all in, but it’s also because these performances function practically as a single unit.

Few are as dependent on the internal rhythms of a family as this one. At its center is a deeply dysfunctional trio: an absentee filmmaker father played by the legendary Stellan Skarsgård, father to Alexander and Bill; his angsty actress daughter, clearly cut from the same cloth, portrayed by Renate Reinsve; and the younger sister, played by Inga Ibsdotter Lilleås, the warmest and most emotionally generous presence of the three, doing her best to hold everyone together.

Featuring some of the most nuanced and understated acting of the year, Joachim Trier’s roughly 80/20 comedy-drama is one of the most genuine depictions of a family I’ve seen in a while, especially in its portrayal of the sisters. Reinsve and Lilleås nail the tiny, specific details of sibling dynamics, while Skarsgård delivers what might be the funniest and most relaxed performance of his long career.

As much as I loved all three, the standout for me is Lilleås. One Battle After Another filmmaker Paul Thomas Anderson called her performance the film’s greatest special effect, and it sure as hell is.

07. Abou Sangare for Souleymane’s Story

A little seen French indie recommended to me by a buddy, Souleymane’s Story follows a food delivery biker in Paris, effortlessly rendered by Abou Sangare. He is an immigrant from Guinea preparing for his asylum application interview.

The film tracks him through his daily work, where he is exploited at nearly every turn, though not always in the ways you might expect. It is an extremely grounded, day in the life portrait, powered by an equally grounded but quietly forceful performance from Sangare, one that slowly sneaks up on you.

The movie is almost entirely focused on him, and by the time it ends you are left with a deep sense of empathy and understanding for this person. A winner of a few critics’ prizes, and deservedly so, the film is ultimately too nuanced and too unassuming to make any real waves with the Academy.

06. Wagner Moura for The Secret Agent

Out of all the movie characters I’d want to hang out with this year, Benicio Del Toro’s Sensei Sergio is probably my first pick. If he were busy, though, I’d be more than happy to grab a beer with Wagner Moura’s Armando, an ultra-smooth, deeply empathetic, and quick-to-act man on the run.

More than almost any film this year, Kleber Mendonça Filho’s The Secret Agent transports you to a very specific time and place: Brazil in 1977. Under a military dictatorship, former university professor Armando is forced to seek refuge alongside other perceived stains on the state, all while being hunted by assassins hired by the executive director of a major utilities company for the crime of being a mouthy liberal.

There’s something effortlessly lived-in and quietly riveting about Moura’s performance. He radiates emotion with barely any movement in his face, communicating fear, resolve, and moral clarity without ever going over-the-top. Aside from one very brief scene near the end, Moura never gives us a big, showy Oscar-style blowup.

The real power of the performance comes from the cumulative effect of Armando’s arc. That includes a brief, three-line exchange about killing a man with a hammer, so perfectly delivered it made its way into the trailer, and somehow still lands just as hard in the film itself.

05. Jesse Plemmons for Bugonia

As Teddy, a mentally disturbed fringe figure who’s been thoroughly red-pilled into believing that the CEO of his company (played brilliantly by Emma Stone) is actually an alien hell-bent on controlling Earth’s inhabitants and draining its resources, Jesse Plemmons is virtually unrecognizable. He’s greasy, his hair is unkempt, and he’s skinnier than I think the actor has ever been. He looks practically emaciated.

I’ve been saying for the past five years that this guy might be the best actor of his generation. Known mostly for the nuance he brings to deeply human, painfully real characters, it’s a little funny that in Bugonia, Yorgos Lanthimos’ bizarre, pitch-black eco-terrorism kidnapping comedy, he may have delivered his best performance yet.

This would already be a stunning performance if you were meant to hate Teddy, but you’re not. As misguided and dangerous as he is, he’s also a victim in many ways. Plemmons has the extremely difficult task of eliciting sympathy (or at least pity) even while his character is committing acts of horrific torture and destruction.

Did I mention Bugonia is a comedy?

04. Rose Byrne for If I Had Legs I’d Kick You

Uncomfortable doesn’t even begin to describe Rose Byrne’s queasy plunge into absurdity in Mary Bronstein’s energetically depressing portrait of a mother slowly losing her mind. Well, technically she’s not single. Linda has a husband, but he is away on top secret military business and is very much not helping with their sick child.

Their child is seriously ill, requiring around the clock care, complete with a tube protruding from her body. Bronstein makes the fantastic choice to never fully show the daughter. We only glimpse legs, arms, a hand. It’s an effective strategy, forcing the audience to place all of their emotional investment squarely onto Linda rather than splitting attention between mother and child. It may sound cruel, but it works, peeling back the layers of what makes this thorny, utterly desperate mom tick.

By day, Linda works as a psychologist, fielding an endless parade of losers and assholes who only amplify her already mounting anxiety. Her primary coping mechanisms are getting white wine drunk, occasionally stoned, and visiting her own psychologist, a humorless prick played to near perfection by Conan O’Brien. She also meets A$AP Rocky.

Byrne, who has always been excellent and still somehow under-appreciated, absolutely shines here. She hits emotional notes most actors cannot, inhabiting a character who could have easily been despicable. However, your sympathies never leave her side. You may not agree with her choices, in fact you absolutely will not, but given how positively fucked her life is, you can’t help but understand them.

03. Jennifer Lawrence for Die My Love

This was a great year for glamorous women delivering absolutely fearless, balls to the wall, unhinged AF performances, and J-Law is right up there in Lynne Ramsay’s honest, messy, and not entirely coherent art house horror film about postpartum depression, Die My Love.

She plays a simple country girl who falls for an equally simple and, as it turns out, deeply unsupportive hick fuck boi, played almost too well by Robert Pattinson. She eventually gets pregnant and has a baby girl, but her husband is rarely around, either posted up at the honky tonk or cheating in some stranger’s bed. As her isolation deepens, Lawrence’s character begins to slowly lose her grip on reality.

She grows resentful of her baby and absolutely despises the dog that Adulterer Batman casually brings home one day. Trapped in the house, she starts rotting from the inside out, steadily coming apart at the seams. I won’t spoil where the movie goes, but Lawrence’s character does some truly outrageous shit.

This is the female equivalent of Harvey Keitel’s sobbing, full frontal meltdown in Bad Lieutenant. I hate the phrase “brave acting,” but I honestly can’t remember the last time I saw a performance this exposed and daring. It’s almost Kabuki in its extremity, so big and so exaggerated, yet still grounded enough to register as a real human being. While the film itself loses steam in the back half, Lawrence remains consistently brilliant throughout.

02. The Ensemble of One Battle After Another

Benicio Del Toro, Brooklyn Demme, Leonardo DiCaprio, Dijon, Jim Downey, Starletra DuPois, Tony Goldwyn, April Grace, Paul Grimstad, Alana Haim, Regina Hall, Wood Harris, John Hoogenakker, Chase Ifiniti, Shayna McHayle, D.W. Moffett, Sean Penn, Jim Raterman, Eric Schweig, Teyana Taylor, Kevin Tigh

This is me really cheating, but how the heck could I not mention practically every cast member in this juggernaut of a feature film. One Battle After Another is a masterpiece for a lot of reasons, chief among them being that it boasts the best ensemble of the year. I tried to rank the performances individually, but that would have meant burning six of my twenty slots on the equally brilliant central characters alone.

Leonardo DiCaprio has never been funnier than he is here. Hell, he may have never been better. It’s a three way tie between this, Once Upon a Time in Hollywood, and The Wolf of Wall Street for his greatest screen performance, but here he gets the added bonus of playing the only truly likable character of those three. Everything you have heard about Sean Penn is also true. Speaking of Kabuki level performances, he delivers a masterclass in physical acting, turning what could have been a live action cartoon into something frightening, believable, and ultimately pathetic.

Then there’s Teyana Taylor, fresh off a well deserved Golden Globe win for Best Supporting Actress. She carries a significant portion of the film on her shoulders, taking on its most morally complex character, one the movie never stops empathizing with. Regina Hall, a character actress best known for comedies, has been largely ignored this awards season, likely because she gives the most restrained and nuanced performance in the entire film. She is the bass player of the ensemble. You may not clock her immediately, but remove her and the whole thing collapses.

Chase Infiniti, one of the most exciting acting discoveries of the year, makes her film debut here. The highest compliment I can give is that she never misses a beat while going toe to toe with some of the best actors working today. She creates one of the film’s strongest and most noble characters. And then there is Benicio “A Few Small Beers” Del Toro, who is the coolest character in the entire movie. It’s a playful, confident, laid back performance that provides many of the film’s very best moments.

Beyond the core six, the ensemble slaps just as hard. The Christmas Adventurers Club scenes play like brutally deadpan UCB sketches gone off the rails. Tony Goldwyn, the ultimate character actor villain, teams up with SNL writing legend Jim Downey to deliver some of the film’s biggest laughs. They are later joined by John Hoogenakker, the always funny D.W. Moffett, and Kevin Tighe creepily proclaiming, “Clean! Clean enough to eat off of!”

There is Magnolia alum April Grace as the leader of the Sisters of the Brave Beaver, an uproarious Shayna McHale bringing her Jungle Pussy character to life, and Alana Haim, Brooklyn Decker, and The Wire’s Wood Harris rounding out the French 75 crew. The non actors are just as gobsmacking, including Yale professor Paul Grimstad as Billie Goat and former Homeland Security interrogator Jim Ratterman, who gives the film’s scariest performance as Penn’s dead eyed hostage interrogator. Dijon is here too, basically playing himself. Eric Schweig is solid as Avanti Q, Starletta DuPois is terrific as Teyana Taylor’s mother, and the list somehow keeps going. Shit, even Comrade Josh is good in this, and that guy fucking sucks.

01. Jessie Buckley for Hamnet

There is no question in my mind that this is the performance of the year. What Jessie Buckley does here is one of the most astonishing feats of acting I have ever witnessed. That’s not hyperbole. This is Charlize Theron in Monster or Daniel Day-Lewis in anything level impressive.

The work is expertly controlled while still feeling completely organic. It’s nuanced, yet at the same time, much like Rose Byrne and especially J-Law this year, it’s a big, loud, screaming raw nerve of a performance. You feel everything Buckley is feeling, every step of the way.

At its core, this is a story about grief and the extremes it can push us toward. Grief drives Buckley’s husband, the infamous William Shakespeare, played by Paul Mescal, into work, shaping a play out of their loss. Women of that era did not have that outlet, so Buckley’s character is forced to sit in it, letting it fester as it eats away at her soul. It’s worth mentioning that this is a sad movie.

As for the film itself, it’s a bit uneven and, in my opinion, more than a little overpraised this awards season. The first hour is very slow, then gains momentum after a big event. The reason people are truly losing their minds over it, though, is that it sticks the landing in a way no other 2025 release does. It has the most cathartic ending of the year.

The final sequence of Hamnet is perfect. It is the only time the film fully rises to Buckley’s level, a brilliant feat of make believe we’ll be talking about for years to come.

SPECIAL MENTION: Most Very Good Performances

Josh O’ Connor for History of Sound, The Mastermind, Rebuilding, and Wake Up Dead Man

I’ve seen Wake Up Dead Man and The Mastermind. He is the best part of Wake Up Dead Man by a wide margin, and he delivers an even stronger, beautifully layered performance in Kelly Reichardt’s The Mastermind.

I have not yet had a chance to catch his sad cowboy drama, Rebuilding, or his sad gay music romance, History of Sound, but by all accounts he is phenomenal in both. While none of his individual performances I’ve seen cracked my Top 20, his body of work over the past two years has been consistently impressive.

He is the real deal, one of the greats, as Timmy says.

Other Very Good Performances that Just Didn’t Make the Cut:

Austin Abrams for Weapons

Odessa A’zion for Marty Supreme

Ebrahim Azizi for It Was Just An Accident

Jai Courtney for Dangerous Animals

Benicio Del Toro for The Phoenician Scheme

Kirsten Dunst for Roofman

Joel Edgerton for Train Dreams

Jacob Elordi for Frankenstein

Elle Fanning for Sentimental Value

Ethan Hawke for Blue Moon

Sally Hawkins for Bring Her Back

David Jonsson for The Long Walk

William H. Macy for Train Dreams

Liam Neeson for The Naked Gun

Dylan O’Brien for Twinless

Nick Offerman for Sovereign

Joaquin Phoenix for Eddington

Emma Stone for Bugonia

Zhao Tao for Caught by the Tides