The 77th annual British Academy Film Awards have confirmed what pundits already know: “Oppenheimer” is the film to beat this year at the Oscars. Christopher Nolan’s opus scored for best film and director during tonight’s ceremony, held for the second year at London’s Royal Festival Hall. But while many of the winners were well-predicted, not everything that took place was quite so expected.
The BAFTAs satisfied with an amiable host, a pronounced focus on diversity and a celebration of British productions, including Jonathan Glazer’s “The Zone of Interest,” which, oddly, won both outstanding British film and film not in the English language (a first). The two-hour ceremony that aired on the BBC — as well as on BritBox streaming in the U.S. — was an edited version of what actually occurred in the room. What viewers at home didn’t see was plentiful, particularly as the cameras tended to focus on the nominees.
Here’s what happened behind the scenes of the BAFTAs.
A bit of housekeeping
After BAFTA attendees were properly lubricated at the pre-drinks reception, Royal Festival Hall staff had the unenviable task of herding them into the theater, where many continued to drink champagne out of paper cups. One of the last to be seated was Prince William, who arrived solo this year as the Princess of Wales is still recovering from recent surgery.
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Before the show was properly underway, a few rules were laid out to the audience. One of most important notes (which was later ignored) was no clapping during the in memoriam segment. Another: “A camera could be looking at you even though you can’t see it.”
Sara Putt, Chair of BAFTA, then gave a short off-air speech, noting that the organization’s aim is to “champion talent, exceptional storytelling and make the screen industries a more equitable and sustainable place.” She referenced the recent WGA and SAG strikes, but noted a year of “stellar storytelling” from the film industry.
“It’s definitely been the most talked about awards season in years,” she said to applause. “Turbo-boosted by ‘Barbenheimer,’ audiences rediscovered cinema, seeking out the talked about films and discovering some lesser known gems.”
The real Bark Ruffalo
The BAFTAs were hosted by David Tennant.
(Joe Maher / BAFTA / Getty Images for BAFTA)
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Scottish actor David Tennant (probably best known stateside for his vivid incarnation of the Doctor in “Doctor Who”) represents a younger, hipper host for the BAFTAs, which usually lean on stately icons to shepherd the evening along. He proved his comedic prowess with an opening bit about being obligated to dog-sit for Michael Sheen’s dog, Bark Ruffalo. After attempting to wrangle Dame Judy Dench and Tom Hiddleston into doing it for him, Tennant brought the dog along to the ceremony, arriving in the theater with a small white pup and its accessories in tow. To his (feigned) surprise, Sheen was in the front row, seated next to the “Saltburn” cast.
After handing Sheen the dog, Tennant joked that Bark Ruffalo was “actually being played by Andy Serkis” — who presented the first prize for original screenplay. “Playing Bark Ruffalo was, for me, a career highlight,” Serkis said on a roll, adding that many people will know the dog from “The Bone of Interest” and “Paw Things.”
The dog vanished backstage after the opening bit and, in fact, was not Sheen’s dog at all. Bark Ruffalo is actually a Maltese named Lilliput, who may be the first dog to get BAFTA accreditation, according to her manager Paula Stewart.
“Poor Things” sweep
Emma Stone and “Poor Things” had a good night, winning five awards including leading actress.
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(Kate Green / BAFTA / Getty Images for BAFTA)
Early on, it became clear that Yorgos Lanthimos’ “Poor Things” had a grip on BAFTA voters, particularly in the crafts categories. The film triumphed in the second category bestowed, for special visual effects, to deafening applause and went on to win for costume design, makeup and hair and production design.
Many of the winners enthused about Lanthimos’ creative, risk-taking vision in their acceptance speeches, although the director himself didn’t win. Makeup artist Nadia Stacey credited Lanthimos for letting her team “go crazy,” while costume designer Holly Waddington described the film as an “experiment like no other.” Although BAFTA members don’t always vote in line with Academy, “Poor Things” just might prevail over “Barbie” at the Oscars.
Mr. Who?
Nick Mohammed appeared in character as his stage and TV character Mr. Swallow.
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(Kate Green / BAFTA / Getty Images for BAFTA)
Fans of “Ted Lasso” may be aware of Nick Mohammed’s character, Mr. Swallow, but non-British audiences likely had no idea what was happening when the actor emerged onstage in roller skates. His appearance, billed as an interlude for the audience, brought a few jokes — and a perfect bathroom break. The theater literally thudded with the sound of high heels as attendees flooded out while Mohammed offered his own housekeeping notes, including a directive to “vacate in height order” in case of emergency. “We’re about 10 percent of the way through,” he told the crowd, most of whom were still on their way back from the toilets.
#BAFTAsNotSoWhite
Da’Vine Joy Randolph accepts the BAFTA award for supporting actress for her work in “The Holdovers.”
(Joe Maher / BAFTA / Getty Images for BAFTA)
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BAFTA has come under fire in recent years for its lack of diversity, both in terms of nominees and winners. Last year, the entire winners pool was white, despite a major reform in 2020 to ensure more diversity in the acting categories and for the award of best British film. Finally, that effort paid off. Da’Vine Joy Randolph won supporting actress for “The Holdovers.” Through tears, she praised her character, noting “Mary is so much bigger than me. She showed us all what is possible when we look behind the differences.”
Later, Yasmin Afifi’s “Jellyfish and Lobster” won best British short film, Cord Jefferson scored a notch for “American Fiction’s” adapted screenplay (surprisingly beating Nolan) and Savanah Leaf’s “Earth Mama” was celebrated as outstanding debut by a British writer, director or producer. But it was writer and archivist June Givanni, honored with the outstanding British contribution to cinema award, who highlighted the importance of recognizing diverse voices — and earned a standing ovation from Ryan Gosling.
Another measure of change was the sign-language interpreter, who was filmed in one of the theater boxes for broadcast on the BBC throughout the ceremony. Less successful was an accessibility ramp, which was touted as an inclusive addition to ensure all winners could get up to the stage (there was also a set of stairs). Because the ramp was in front of the “Oppenheimer” cast and crew, many of its winners, including editor Jennifer Lame, hopped up the ramp awkwardly before giving their speeches. By the time Cillian Murphy won his leading actor award, he gracefully detoured to the stairs.
Politically inclined
In one of the evening’s most emotional moments, Samantha Morton accepted the BAFTA’s Fellowship Award, the highest accolade given, and spoke about her own childhood, dedicating her prize to “every child in care, or who has been in care, who is suffering or didn’t survive.”
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(Kate Green / BAFTA / Getty Images for BAFTA)
The presenters and winners kept their political statements to a minimum this year, with almost no references to global events and literally none about the British government. But “The Zone of Interest” producer Jim Wilson, accepting the award for film not in the English language alongside director Jonathan Glazer, took the opportunity to reflect on the film’s themes in parallel with current conflicts.
“A friend wrote me after seeing the film the other day that he couldn’t stop thinking about the walls we construct in our lives which we chose not to look behind,” Wilson said. He added that “we should care about innocent people being killed in Gaza or Yemen in the same way we think about innocent people killed in Mariupol or in Israel.” The cheers from the audience were so loud Wilson repeated the line, saying, “Thank you for recognizing a film that asks you to think in those spaces.”
Last year, director Daniel Roher’s “Navalny” won for documentary, prompting Tennant to reference the film and the recent death of its subject, Alexey Navalny, before bringing Taylor Russell out to announce this year’s winner. Accepting the award, “20 Days in Mariupol” filmmaker Mstyslav Chernov took the moment to draw attention to the present situation in Ukraine. “The only comfort for me is that we give voice to Ukrainians,” he said, somberly. “We keep reminding the world of what’s happening there.”
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Later in the evening, Samantha Morton received the BAFTA Fellowship, the British Academy’s highest honor. Morton’s “Minority Report” co-star Tom Cruise paid tribute to her during a clip recapping her storied career, but it was Morton’s speech that caught the audience’s attention. Morton, who grew up in foster care, used the platform to recognize children growing up in poverty, recalling her own experience of being “cold” and “hungry.”
“Film changed my life, it transformed me and it led me here today,” she said, noting that watching Ken Loach’s essential 1969 drama “Kes” in school allowed her to see herself on-screen. “I dedicate this award to every child in care, or who has been in care, who is suffering or didn’t survive.” As Morton choked up, so did those in the crowd.
In memoriam
The aforementioned rule about not clapping during the in memoriam segment? The audience attempted to be respectful as Hannah Waddingham sang a beautiful rendition of “Time After Time.” However, a few guests clapped and cheered when Tina Turner flashed on-screen. For everyone else: respectful silence.
Most supportive actors
Sophie Ellis-Bextor, center, performs her hit “Murder on the Dance Floor” during the EE BAFTA Film Awards.
(Joe Maher / BAFTA / Getty Images for BAFTA)
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Speaking of Gosling, the “Barbie” standout may not have won supporting actor, but he was certainly the most supportive of the night. Gosling, seated in the front row near Prince William, spent the evening cheering on his fellow nominees and offering standing ovations for many. He was one of the first to stand for “The Holdovers” star Randolph and he offered Emma Stone a congratulatory squeeze as she passed by to accept the award for leading actress.
Across the aisle, “Saltburn” star Archie Madekwe was similarly supportive. He and director Emerald Fennell leapt to their feet after Sophie Ellis-Bextor’s dynamic performance of “Murder on the Dancefloor” and he was visibly excited for “How to Have Sex” breakout Mia McKenna-Bruce when she was named the EE BAFTA Rising Star.
The biggest standing ovation of the night came at the show’s end as Tennant announced that Michael J. Fox would present the award for best film — much to the surprise of the audience. The entire room got on their feet as Fox was wheeled onstage and then stood behind the podium. It felt genuinely celebratory — and generous, particularly as the actor’s documentary, “Still: A Michael J. Fox Movie,” lost to Oscar frontrunner “20 Days in Mariupol.”
The afterparty
Following the three-hour ceremony, attendees made their way to more than 150 dinner tables inside Southbank Centre. Each was decorated with a themed centerpiece for one of the nominated films (the press table was “Poor Things”). Many people stayed for the official afterparty, held in the building next door, where the highlight was a saxophone player wearing a dog mask who accompanied the DJ’s selections. The song that really got the crowd going though? “Murder on the Dancefloor,” of course.
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A complete list of tonight’s winners
Best Film: “Oppenheimer”
Director: Christopher Nolan, “Oppenheimer”
Leading Actress: Emma Stone, “Poor Things”
Leading Actor: Cillian Murphy, “Oppenheimer”
Supporting Actress: Da’Vine Joy Randolph, “The Holdovers”
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Supporting Actor: Robert Downey Jr., “Oppenheimer”
Outstanding British Film: “The Zone of Interest”
Outstanding Debut by a British Writer, Director or Producer: “Earth Mama”
Film Not in the English Language: “The Zone of Interest”
The Snapshot: Pixar comes out swinging with an energetic and cuddly comedy that pairs big laughs with an earnest message about living alongside nature.
Hoppers
9 out of 10
G, 1hr 44mins. Animated Sci-Fi Family Comedy.
Directed by Daniel Chong.
Starring Piper Curda, Bobby Moynihan, Kathy Najimy, Jon Hamm, Dave Franco and Meryl Streep.
Now Playing at Galaxy Cinemas Sault Ste. Marie.
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True all ages fun is increasingly hard to find, and hoping for great, original works out of Hollywood is only getting rarer from the major studios. Thankfully, Disney and Pixar’s Hoppers is making the search a little easier.
Director Daniel Chong (best known for the TV series We Bare Bears) has masterfully directed a frantic masterpiece that is worthy to stand among iconic greats in Pixar’s esteemed catalogue. Filled with bustling action, a brave moral standing, and an endless parade of cuddly animal heroes, Hoppers is a dam great time.
A beaver dam great time, that is.
The story is a bit unusual, set in the northwestern town of Beaverton, Oregon, where a local University student and nature activist named Mabel (Piper Curda) is in a constant fight with the town’s development-driven mayor (Jon Hamm) over a highway expansion over a local glade and nature preserve.
Things gets wild, however, when Mabel’s consciousness gets sucked into a beaver robot through a process called “hoppers” – and suddenly becomes a literal friend of the forest, setting off a chain of events I dare not spoil.
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One of the strongest elements in Hoppers is Jesse Andrews’ terrific screenplay, built on a story structure that has made Pixar’s work stand out among family entertainment for the last 40 years. (Part of this film’s release, co-incidentally, marks the studio’s 40th anniversary this year.)
Not only has Andrews filled the plot with multiple organic surprises that repeatedly heighten the stakes of Mabel’s quest to save the glade, but the script also balances the peacefulness of nature to – anchor the story – with the frazzled panic of modern human life to develop the humour.
Getting these juxtaposing elements to work is done swiftly by Chong, Andrews and the talented voice ensemble bringing it altogether. The actors above are all commendable, but the scene stealer is Bobby Moynihan (of SNL fame) as beaver leader King George.
Moynihan’s George is smart, sincere, and socially aware that teaches Mabel some core lessons without making it overly obvious to the audience. Still, the film as a whole effectively gets its messages across about what a realistic plan for living in harmony across species actually looks like – and how to go about trying to do the right thing.
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Pixar’s original works have struggled for several years, mainly upended by the COVID pandemic ruining the box office prospects of multiple great movies, including Soul, Turning Red and Onward.
Get ready now for Hoppers to take the spotlight both commercially and among repeat viewings for kids – the film is laugh out loud funny and filled with heart. This is the best original film from Pixar since Coco almost a decade ago.
Read more here: You can’t miss Pixar’s Coco (2017 review)
The only small critiques, in fact, is that the main conflict doesn’t fully emerge or develop until halfway through the film, and the pacing is a bit slow until we get to the actual animal “hopping” that comes at the end of the first act. What’s also missing is the ethereal discovery of poignancy that made Pixar’s earliest filmography seem truly special.
Still, don’t let these small quips deter you. Hoppers is the first great film of 2026 and an absolute blast watching at the cinema.
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Children, parents, grandparents, neighbours, your mailman – everyone should see it this weekend. And seeing it sooner is a great way to encourage the development of more original, thoughtful and fun movies like this to be made.
“Pond rules” dictate that if an animal is hungry, the creature that’s about to become a meal should accept its fate. That’s the first lesson that Mabel (voiced by Piper Curda), an idealistic university student whose mind is transferred into the body of a robotic beaver, learns while interacting with wildlife as one of their own in Pixar’s inventive “Hoppers.” In typical human fashion (we love to meddle with nature), Mabel ends up breaking that directive by saving a “fellow” beaver, the slumberous Loaf (Eduardo Franco), attracting unwanted attention that leads her to a wacky group of characters who will transform her rigid young worldview.
For his second feature, Daniel Chong, best known for creating the popular “We Bare Bears” series for Cartoon Network, has unleashed a hilariously unexpected and outrageous crowd-pleaser with “Hoppers.” Recently, I bemoaned that a movie like Sony’s “Goat” stood as further proof that talking-animal animated films had mostly run their course. Chong and screenwriter Jesse Andrews swiftly push back on that read with this environmentalist tale in defense of people who stand up for something, even when it seems no one is willing to stand beside them.
“Hoppers” is Pixar by way of a creator, Chong, whose career isn’t exclusively tied to the studio. That’s likely why his movie is more daring in its humor and tone, bringing a refreshing infusion of mischief to Pixar while maintaining the genuine emotional gravitas that has endeared the company to audiences for over 30 years.
Why is Mabel’s psyche roaming around inside a fake beaver à la “Avatar”? After discovering that this technology has been developed by one of her professors, Mabel thinks it could be the answer to saving the local forest glade where self-aggrandizing mayor Jerry (Jon Hamm) wants to build a highway. Mabel’s grandmother instilled in her an appreciation for nature as a reminder that she’s part of something greater than herself. Collecting signatures isn’t yielding results to stop construction, so, to the dismay of the scientists in charge, Mabel hops into the human-made mammal to learn from the creatures themselves why they’ve left the glade, giving Jerry carte blanche to destroy their home.
The poignancy-to-comedy ratio is precisely calibrated. Sharp gags, whether visual or in superbly timed lines of dialogue often laced with irony, work on multiple levels. A few moments like an accidental death or the wild introduction of an aquatic character are so wonderfully out of left field they make one’s head spin. That also goes for instances late in Mabel’s adventure in which “Hoppers” steps into amusingly creepy terrain, paying homage to the horror genre. These impish touches involve a wicked caterpillar (Dave Franco) whose mother, the Insect Queen, is voiced by acting royalty Meryl Streep. Each group of animals has its own ruler.
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Since most scenes occur in the forest glade, the artists at Pixar have created strikingly rendered settings which, while aiming for photorealism, also have a fantastical glow to them, highlighting the inherent magic of nature. That such a seemingly commonplace location is elevated to feel mesmerizing speaks to how animation can make the mundane anew. That’s on top of how the rotund beavers in “Hoppers” have been conceived for maximum cuteness. One of them, Mabel’s guide through this ecosystem, is the disarmingly adorable King George (Bobby Moynihan), who wears a tiny crown (Where did he get it? No one knows) and rules over all mammals with a gentle hand.
Mabel’s friendship with King George, who doesn’t know she is human, becomes the movie’s heartstring-pulling core. The jovial royal believes he can persuade Jerry to change course. Mabel, conversely, doesn’t think Jerry will listen. Her cynicism and King George’s sincere faith in others clash. Among Mabel’s non-furry pals, Tom Lizard (Tom Law) becomes a scene-stealer. (The crazy-eyed, eloquent reptile first became an online sensation as part of a post-credits scene in “Elio.”)
Chong and his team include a minuscule but brilliant detail that illustrates how character design can have major narrative impact: When the animals are speaking among themselves, their eyes are large and expressive, full of life. But when the film takes the perspective of a human looking at the forest dwellers, their eyes appear small and dark, almost nondescript. It’s a subtly visual symbol for how we often fail to gaze at others with understanding.
There are many heavy hitters still to come, but “Hoppers” feels like the first great animated movie of the year. At a time when our right to protest is under siege, this sci-fi yarn exalts the way an individual’s conviction can plant seeds of change, leading to a stronger sense of community. Neither simplistically optimistic nor preachy, “Hoppers” smuggles timely ideas inside a rodent body. Pond rules would probably call that a beaver victory.
‘Hoppers’
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Rated: PG, for action/peril, some scary images and mild language
Pankaj Kapur in ‘Jab Khuli Kitaab’
| Photo Credit: ZEE5
Cracks in conjugality constitute a common conflict device in Hindi cinema. Usually, the male commits the bhool and expects forgiveness. Most fissures appear early, but what if a grandmother reveals a long-buried truth? Can the man accept it as easily as he expects forgiveness? Seasoned actor and theatre practitioner Saurabh Shukla gives new meaning to a prescribed book, making us both chuckle and reflect.
Being a cinematic adaptation of his play, the constraints of the medium are not completely erased, but it shines as a heartfelt exploration of love’s endurance.
The film’s core premise revolves around a decades-old secret — Anusuya’s (Dimple Kapadia) confession of an indiscretion early in their marriage — that surfaces after she awakens from a coma. This revelation forces Gopal (Pankaj Kapur) to re-examine 50 years of trust through the lens of this buried truth as a forgotten ad hoc presence in his life threatens to become a permanent peeve. Enter Negi (Aparshakti Khurana), a young client-chasing lawyer who becomes an unlikely facilitator of tough conversations, legal proceedings, and emotional confrontations.
Synopsis: Gopal and Anusuya’s decades-long marriage is shaken by a revelation.
Though the transgression is a distant memory, its emergence shatters Gopal’s sense of shared space with Anusuya. He questions whether the life he built was an illusion. The woman he cared for seems suddenly unfamiliar. The film asks questions that may seem flimsy but persist in memory. For instance, Anusuya’s love for poetry that Gopal never really discovers, or the concept of marzi (inclination) in relationships.
Meanwhile, the revelation shakes the family unit. The parents initially try to shield the children from the truth, but the tension inevitably seeps in. Initially, it seems the son and son-in-law are bitten by the Baghban bug, but as the film progresses, the writing provides space for a dialogue on how companionship extends beyond the couple.
The film quietly reflects on the role of memory in a marriage, treating it as a central force that both sustains and disrupts long-term bonds. Gopal’s growing dementia suddenly seems like a cure for his marital problem. Without underlining, Shukla also explores the impact of the revelation on Gopal’s social psyche. Suddenly, a seemingly progressive man starts behaving like a parochial uncle, as we find dozens of them around us these days. Is it always the personal that shapes the political socialisation? Another uncle reminds us that laughing too much leads to days of sorrow, as if the Almighty has assigned us a quota of happiness.
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A still from the film
| Photo Credit:
ZEE5
Kapur’s masterful control shines through in Gopal’s progression from bewilderment and stubborn pride to vulnerability and, eventually, the rediscovery of love. Over the years, Kapur has shone in the estuary of comedy that holds a tragedy in its fold. He lives the script’s shifting tones. From the tender caregiving scenes in the beginning to the profound internal shift in demeanour and body language toward the film’s resolution— the transformation feels earned and believable.
It is hard to believe Dimple as a wilting wife, but soon we realise it’s the gravitas in her voice and personality that makes Anusuya a believable picture of regret and resilience.
We know the coma is more like a metaphor, but the medical aspect is treated with a heavy hand. The plot unfolds in a somewhat linear and foreseeable way, with the revelation and its consequences following expected beats. The contrivances, the dot-to-dot mechanics of storytelling, surface in the second half as if the director is keen on arriving at the crux without peeling the layers properly. But it is the chemistry between Shukla and Kapur that prevents this bittersweet dramedy from becoming schmaltzy.
