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‘Emilia Pérez’ Leads the 2025 Oscar Nominations With 13 Nods

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‘Emilia Pérez’ Leads the 2025 Oscar Nominations With 13 Nods

The Academy of Motion Picture Arts and Sciences showered little-seen movies rooted in progressive politics with nominations for the 97th Oscars on Thursday.

“Emilia Pérez,” a musical exploration of trans identity, and “The Brutalist,” a three-and-a-half-hour study of immigrant trauma and antisemitism, emerged as films to beat by securing nominations in most of the major categories, including best picture and best director. “Emilia Pérez,” a Netflix entry, received 13 nominations in total, the most of any film.

“The Brutalist,” a low-budget movie from A24 that arrives in theaters nationwide on Friday, received 10 nominations. One blockbuster, “Wicked,” with its messages about the dangers of authoritarianism and the power of resistance, also did well with voters. It garnered 10 nominations, but failed to crack the important directing and screenplay categories.

While the acting races have taken clearer shape over the past month, the best picture contest remains unusually wide open. Unlike last year, when “Oppenheimer” cemented its front-runner status almost immediately and never looked back, multiple films remain in the hunt for Hollywood’s top prize this time around.

The nominees for best picture included “Conclave,” a Vatican thriller that explores identity politics; “The Substance,” a feminist manifesto in the form of a body horror flick; “Nickel Boys,” a historical drama set at a racist reform school in 1960s Florida; “Anora,” a Cinderella story about a sex worker who impulsively marries the hard-partying son of a Russian oligarch; “I’m Still Here,” a Brazilian drama about family life and political oppression; and the Bob Dylan biopic “A Complete Unknown.”

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The big-budget studio movies “Wicked” and “Dune: Part Two” filled out the category. The academy expanded the best picture field to 10 in 2022; it previously had a sliding number with as few as five slots. The academy positioned the changes as part of an expanded focus on diversity, equity and inclusion.

Adrien Brody (“The Brutalist”), Timothée Chalamet (“A Complete Unknown”), Colman Domingo (“Sing Sing”) and Ralph Fiennes (“Conclave”) were nominated for best actor, as expected. Sebastian Stan drew the wild-card spot for his performance as an unsavory, early-career Donald Trump in “The Apprentice,” an independent film that nearly did not make it to theaters. (The big studios balked, in part because Trump threatened to sue. He has called the film “garbage.”)

Demi Moore (“The Substance”) has been the favorite to win best actress since she delivered a poignant acceptance speech about Hollywood pigeonholing at the Golden Globes this month. Academy voters waved her through to the nomination stage while also giving best actress nods to Cynthia Erivo (“Wicked”), Mikey Madison (“Anora”), Fernanda Torres (“I’m Still Here”) and Karla Sofía Gascón (“Emilia Pérez”). Gascón became the first openly trans actress to receive an Oscar nomination.

Left out were Angelina Jolie (“Maria”) and Nicole Kidman (“Babygirl”), both of whom were active on the Oscar campaign circuit.

Kieran Culkin, fresh off winning a Golden Globe for his performance in the dramedy “A Real Pain,” received a nomination for best supporting actor. Filling out the category were Yura Borisov (“Anora”), Guy Pearce (“The Brutalist”), Edward Norton (“A Complete Unknown”) and Jeremy Strong (“The Apprentice”).

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For supporting actress, Oscar voters handed nominations to the favorites Zoe Saldaña (“Emilia Pérez”) and Ariana Grande (“Wicked”), both of whom played lead roles but decided to run as secondary candidates. Joining them were Isabella Rossellini (“Conclave”), Monica Barbaro (“A Complete Unknown”) and Felicity Jones (“The Brutalist”).

A majority of the acting nominees — 13 out of 20 — were first-time academy honorees, perhaps underscoring the organization’s effort over the past decade to make its voting ranks less dominated by older white men. The academy now has roughly 10,000 voting members, up from about 6,700 in 2017.

In the director category, the academy nominated the favorites Sean Baker (“Anora”), Brady Corbet (“The Brutalist”) and Jacques Audiard (“Emilia Pérez”). Rounding out the category were James Mangold (“A Complete Unknown”) and the French filmmaker Coralie Fargeat (“The Substance”). Prominent omissions included Edward Berger (“Conclave”) and Jon M. Chu (“Wicked”).

Fargeat becomes the 10th woman to be nominated in the best director category in the academy’s 97-year history. Only three have won: Jane Campion (“The Power of the Dog”) in 2022, Chloé Zhao (“Nomadland”) in 2021 and Kathryn Bigelow (“The Hurt Locker”) in 2009.

The nominees for original screenplay included the favorites “Anora,” “The Brutalist” and “A Real Pain.” The remaining two slots went to “The Substance” and “September 5.”

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Adapted screenplay nods went to “Conclave,” “Emilia Pérez ,” “A Complete Unknown,” “Nickel Boys” and “Sing Sing.”

Netflix is having a banner week, announcing on Tuesday that it crossed 300 million subscribers and then walking away Thursday morning with 16 nominations, beating all of the big studios. (Universal had 25 in total, but 12 of those came from its semiautonomous Focus Features art film division.)

Thirteen nods for “Emilia Pérez” alone makes the irreverent musical Netflix’s most-nominated film ever. (“Emilia Pérez,” which is presented in Spanish, also became the most-nominated non-English-language film in Oscar history. The previous record-holders were “Roma” and “Crouching Tiger, Hidden Dragon” with 10 each.)

“Emilia Pérez” was an acquisition for Netflix out of last year’s Cannes Film Festival and has been on an awards tear ever since, even though it has not attracted a wide audience. Previously, Netflix’s most-nominated film was 2018’s “Roma,” which garnered 10 nominations.

The streaming giant has amassed 23 trophies since 2016, when it landed its first with the documentary short “The White Helmets.” It has also scored two best director wins: Campion for “The Power of the Dog” and Alfonso Cuarón for “Roma.” It has yet to land the coveted best picture prize.

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The nominations were announced at the academy’s Beverly Hills, Calif., headquarters in an early-morning ceremony hosted by Bowen Yang and Rachel Sennott. The ceremony will be held on March 2.

In their quest to find a host who will generate buzz but not blow up in their faces, Academy Awards organizers traded a current late-night comedian (Jimmy Kimmel) for a former one: Conan O’Brien. Since he has never hosted the Oscars before, O’Brien will presumably bring a freshness to the show, which can come off as old-fashioned at best and out-of-touch at worst. At the same time, he is a safe choice — a seasoned pro whose comedic style has been honed over decades and who has successfully hosted other award shows, including the Emmys.

The recent wildfires in Los Angeles County, which have destroyed at least 10,000 homes, had prompted the academy to delay the nominations announcement. Amid the devastation, questions about the ceremony have circulated in Hollywood. Should it be turned into a fund-raising telethon? Or scrapped altogether?

Academy officials rejected both of those notions, saying in a letter to members on Wednesday that “honoring the unifying spirit and creative synergy of moviemaking” remained their primary focus for the ceremony. Still, the show will “acknowledge those who fought so bravely against the wildfires.” Perhaps to add a sense of solemnity, the show will also “move away from live performances” of nominated songs.

A toned-down Oscars would mark a reversal from recent years, when the academy sought to dial up the razzle-dazzle as part of a frantic effort to attract more viewers. ABC’s telecast of the most recent ceremony attracted about 20 million viewers, a four-year high. Double that number tuned in as recently as 2014, however.

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To make the Oscars more relevant to young people, the academy agreed in December to stream the ceremony online (on Hulu) for the first time. ABC, which like Hulu is owned by Disney, remains the academy’s broadcast partner.

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California’s gas prices push Uber and Lyft drivers off the road

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California’s gas prices push Uber and Lyft drivers off the road

The highest gas prices in the country are making it tougher for some gig drivers to make a living.

Gas prices have shot up amid the war in the Middle East. On average, California gas prices are the most expensive in the United States, according to data from the American Automobile Assn. The average price of regular gas in California is almost $6. The national average is a little above $4.

While Uber and Lyft drivers have concocted clever ways to cut gas consumption, they say that without some relief they will be forced to leave the ride-hailing business.

John Mejia was already struggling to make money as a part-time Lyft driver when soaring gas prices made his side hustle even harder.

“Unfortunately, it’s the economics of paying less to drivers and gas prices,” he said. “It actually is pulling people out of the business.”

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Guests at The Westin St. Francis hotel get into an Uber.

(Jess Lynn Goss / For The Times)

Gig work offers drivers the freedom to work for themselves and more flexibility, but being independent contractors also means they must shoulder unexpected costs.

Ride-sharing companies say they’re trying to help, but drivers say the gas relief comes with caveats. For now, drivers say they’re being pickier about what rides they accept, cutting hours and are looking at other ways to make money.

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Mejia, who started driving for Lyft more than a decade ago, said in his early days, he would sometimes make $400 in three hours. Now it takes 12 hours to rake in $200.

The San Francisco Bay Area consultant is an active member of the California Gig Workers Union, so he knows he isn’t alone. California has more than 800,000 gig rideshare drivers, according to the group, which is affiliated with the Service Employees International Union.

On social media sites such as Reddit and Facebook, gig workers have posted about how the higher gas prices are eating into their earnings. Among the tricks they are suggesting: reducing the number of times the ignition is turned on or off, avoiding traffic, working in specific neighborhoods and at times with high demand and switching to electric vehicles.

Gig drivers usually have only seconds to decide whether to accept a ride on the app, but they have become more strategic about which rides and deliveries they accept.

That means they are more likely to sit back in their cars and wait for higher fares for quick pick-up and drop-off.

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“I highly recommend the ‘decline and recline’ strategy, rejecting unprofitable rides until a better one appears,” wrote Sergio Avedian, a driver, in the popular blog the Rideshare Guy.

Pedestrians cross the street in front of a Lyft and Uber driver.

Pedestrians cross the street in front of a Lyft and Uber driver on Wednesday. High gas prices have made it hard for gig drivers to make a living, cutting into their profits.

(Jess Lynn Goss / For The Times)

Uber, Lyft and other companies have unveiled several ways to help drivers save on gas.

Uber said drivers can get up to 15% cash back through May 26 with the Uber Pro card, a business debit Mastercard for drivers and couriers. Based on a worker’s tier, they can get up to $1 off per gallon of gas through Upside — an app that offers cash rewards — and up to 21 cents off per gallon of gas with Shell Fuel Rewards. The company also offers incentives for drivers who want to switch to electric vehicles.

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“We know the price of gas is top of mind for many rideshare and delivery drivers across the country right now,” Uber said in a blog post about its gas savings efforts.

Lyft also said it’s expanding gas relief through May 26 because the company knows that the extra cost “hits hardest for drivers who depend on driving for their income.”

The company is offering more cash back, depending on the driver’s tier, for drivers who use a Lyft Direct business debit card to pay for gas at eligible gas stations. They can get an additional 14 cents per gallon off through Upside.

Drivers say the fine print on the offers dictates which card they use and where they fill up gas, making it difficult for them to save money.

“If I do the math, it’s ridiculous,” Mejia said. “They’re offering us nothing.”

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Uber declined to comment, but pointed to its blog post about the gas relief efforts. Lyft also referenced the blog post and said “the gas savings were structured through rewards to maximize stackable opportunities.”

Guests at The Westin St. Francis hotel get into an Uber.

Guests at The Westin St. Francis hotel get into an Uber.

(Jess Lynn Goss / For The Times)

Gig workers have struggled with rising gas prices in the past.

In 2022, Lyft and Uber temporarily added a surcharge to their fares amid record-high gas prices following Russia’s invasion of Ukraine. This year, Uber is adding a fuel charge to its fares in Australia for roughly two months to offset the high cost of gas for drivers. Lyft said it hasn’t added a fuel charge in the U.S. or elsewhere.

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Margarita Penalosa, who drives full time for Uber and Lyft in Los Angeles, started as a rideshare driver in 2017. Back then, gas was cheaper. She would easily hit her goal of making $300 in eight hours. Now she’s making just $250 after working as much as 14 hours.

Gas prices, she said, used to be less than $3 per gallon. Now some gas stations are charging more than $8 per gallon.

“Take out the gas. Take out the mileage from my car and maintenance. How much [do] I really make? Probably I get $11 for an hour,” she said.

Jonathan Tipton Meyers wants to spend fewer hours as a rideshare driver.

He already juggles multiple gigs even while driving for Uber and Lyft in Los Angeles. He’s a mobile notary and loan signing agent, a writer and performer.

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Driving is “a very challenging, full-time job,” he said. “It’s very taxing and, of course, wages were just continually decreasing.”

A man stands for a portrait in a white button up shirt

John Mejia, a longtime Lyft and Uber driver, poses for a portrait before attending a meeting about unionizing gig drivers.

(Jess Lynn Goss / For The Times)

Even if oil continues to flow through the Strait of Hormuz, which Iran reopened Friday, it could take a while for gas prices to come down to earth, said Mark Zandi, the chief economist at Moody’s Analytics.

“There’s an old adage that prices rise like a rocket and fall like a feather,” he said. “I think that’ll apply.”

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In the meantime, it will be survival of the fittest drivers. If enough of them decide to leave the apps, the ride-hailing companies could be forced to raise fares further to attract some back.

“Those who approach rideshare driving strategically, tracking expenses, choosing trips carefully, and optimizing efficiency are far more likely to weather periods of high gas prices,” wrote Avedian in the Rideshare Guy blog. “For everyone else, a spike at the pump can quickly turn rideshare driving from a side hustle into a money-losing venture.”

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‘We’ve lost our way’: Clifton’s operator gives up on downtown Los Angeles

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‘We’ve lost our way’: Clifton’s operator gives up on downtown Los Angeles

The proprietor of Los Angeles’ legendary Clifton’s has given up on reopening the shuttered venue.

It’s just too difficult to do business in downtown’s historic core, he says.

Andrew Meieran bought Clifton’s on Broadway in 2010 and poured more than $14 million into repairs, renovations and upgrades, adding additional bar and restaurant spaces in the four-story building. In 2018, he found that demand for cafeteria food was too low to be profitable, and he pivoted to a nightclub and lounge concept called Clifton’s Republic, featuring multiple dining and drinking venues. Meieran has tried elaborate themed environments, such as a tiki bar and forest playgrounds, and renting out the location for big events to spark more interest.

It was never easy, but during and since the pandemic, the neighborhood has grown increasingly unsafe as downtown has emptied of office workers and visitors.

Storefronts are gated up due to vandalism in the historic district in downtown Los Angeles on Tuesday.

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(Eric Thayer / Los Angeles Times)

The alley behind Clifton's Cafeteria in the downtown historic district Tuesday.

The alley behind Clifton’s Cafeteria in the downtown historic district Tuesday.

(Eric Thayer / Los Angeles Times)

Vandalism has been rampant, with graffiti appearing on the historic structure almost daily. Vandals would use acid or diamond glass cutters to deface the windows, often cracking the glass. It would cost Meieran more than $30,000 each time to replace the windows. Insurance companies either stopped offering policies that covered vandalism or raised premiums by as much as 600%, he said.

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There has been continuous crime in the area, he said, including multiple assaults on people in front of his building. He last shut the venue last year, hoping things would improve and he could come back with a business that could work. Now he has given up. Someone else may take over the space or even the name of the historic spot, but he is done trying.

“We’ve lost our way,” Meieran said. “I want to get up on the tops of the skyscrapers and yell that people need to pay attention to this.”

The disenchantment of a business leader who used to be one of downtown L.A.’s biggest backers shines a spotlight on the stubborn safety concerns, rising costs and thinner foot traffic that have made it increasingly difficult for even iconic businesses to survive.

The once-popular institution dates back to 1935, when it was a Depression-era cafeteria and kitschy oasis that sold as many as 15,000 meals a day when Broadway was the city’s entertainment hub.

It served traditional cafeteria food such as pot roast, mashed potatoes and Jell-O in a woodsy grotto among fake redwood trees and a stone-wrapped waterfall reminiscent of Brookdale Lodge in Northern California.

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It’s not the only once-prominent destination that has failed to find a way to flourish in today’s market. Cole’s, one of L.A.’s most famous restaurants and often credited with inventing the French dip sandwich, closed last month after a 118-year run.

“The bigger problem for us and the rest of the industry is the high cost of doing business,” said Cedd Moses, who used to operate Cole’s and has backed many other bars and restaurants in historic buildings downtown for decades. “That’s what is killing independent restaurants in this city.”

Outside of Clifton's Cafeteria.

Outside of Clifton’s Cafeteria.

(Eric Thayer / Los Angeles Times)

Clifton's Republic owner Andrew Meieran stands next to a boat on the top floor of the historic restaurant in 2024.

Clifton’s Republic owner Andrew Meieran stands next to a boat on the top floor of the historic restaurant in 2024.

(Wally Skalij / Los Angeles Times)

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Clifton’s opened and closed repeatedly during the pandemic and, more recently, after a burst pipe caused extensive damage. Meieran opened it for special events such as last Halloween, but it has otherwise been closed.

Police are woefully understaffed and hampered by public policy, said Blair Besten, president of downtown’s Historic Core Business Improvement District, a nonprofit that arranges graffiti removal, trash pickup and safety patrols in the area.

Businesses and residents in the area would like to see a bigger police presence, but there have been protests against that by people who are not from downtown, she said.

“People are starting to see the fruits of the defunding movement,” she said. “It has not led us to a better place as a city.”

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The Los Angeles Police Department is making progress downtown, Captain Kelly Muniz said, with violent crime down more than 10% from last year.

“While we’re working very hard to solve crime, to prevent crime, there are still elements such as trash, open-air drug use, homelessness and graffiti,” she said. “We’re swinging in the right direction.”

Retailers have been opting out of downtown L.A., said real estate broker Derrick Moore of CBRE, who helps arrange commercial property leases. Brands have headed to more vibrant nearby neighborhoods such as Echo Park and Silver Lake.

“A lot of operators are just electing to skip over downtown,” he said. “They’re leasing spaces elsewhere, where they feel they have a greater chance at higher sales.”

A man walks past a pile of trash left on the street in the historic district.

A man walks past a pile of trash left on the street in the historic district.

(Eric Thayer / Los Angeles Times)

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While some businesses are struggling, many downtown residents say their perceptions of safety are improving and that the area is regaining some vibrancy.

“A lot of people live here. I think people forget that,” Besten said. “We’re all surviving. It’s just hard for all the businesses to survive.”

A green shoot for the Historic Core is Art Night on the first Thursday of every month, when 50 or 60 locations, including permanent art galleries and pop-up galleries in unused storefronts, display art to map-toting visitors who come for the occasion.

They often end up in Spring Street bars, which more typically thrive on weekend nights but are still a draw to downtown.

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“I think nightlife will thrive downtown, since bars attract people that don’t mind a little grittier atmosphere,” said Moses. “Our sales are hitting new records at our bars downtown, fortunately, but our costs have risen dramatically.”

A closed sign for Clifton's Cafeteria.

A closed sign for Clifton’s Cafeteria.

(Eric Thayer / Los Angeles Times)

Clifton’s former backer, Meieran, says he doesn’t think things are going to bounce back enough to warrant more massive investment. He has sold the building, and the owner is looking for a new tenant to occupy Clifton’s space. He still controls the Clifton’s name.

While there is still a chance he could let someone else use the name Clifton’s, Meieran is done for now — too many bad memories.

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“There was a guy who was terrorizing the front of Clifton’s because he decided he wanted to live in the vestibule in front, and he didn’t want us to operate there,” Meieran said. “He would threaten to kill anybody who came through.”

He doesn’t believe official statistics that show crime and homelessness are way down in the area, and he doesn’t want to restart a business when criminals can so easily erase his hard work.

“What business that’s already on thin margins can survive that?” he said.

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If you shop at Trader Joe’s, it may owe you $100

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If you shop at Trader Joe’s, it may owe you 0

Trader Joe’s customers might soon get a payout from the popular grocery chain.

The Monrovia-based company agreed to a $7.4-million settlement in a class action lawsuit that claimed customers were left vulnerable to identity theft.

Customers who purchased items with a credit or debit card from March to July in 2019 might be eligible for a payment as part of the settlement.

The plaintiff alleged that some receipts printed in 2019 included 10-digit credit or debit card numbers —double what’s allowed under the Fair and Accurate Credit Transactions Act.

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Trader Joe’s “vigorously denies any and all liability or wrongdoing whatsoever,” the grocery chain said in the settlement website. The grocery chain decided to settle to avoid a long and costly litigation process.

The payout will go toward paying impacted customers as well as attorney fees and other expenses.

About $2.6 million will go toward attorney fees, and the plaintiff will receive a $10,000 incentive payment, according to the settlement. The remaining funds will be distributed evenly among customers who submit valid claims.

It’s unclear how much money each customer would get, but the payout could be about $102, according to the settlement notice.

To receive the payout, customers must have received a receipt displaying the first six and last four digits of the card number.

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Some customers identified as part of the settlement class have been notified and received a class ID number to file a claim.

Customers have from now until June 6 to file a claim online or by phone.

A customer not identified in the settlement can still submit a claim by entering the first six and last four digits of the card used, along with the date it was used at Trader Joe’s.

Brian Keim, the plaintiff who brought the case, used his debit card at stores in Florida in 2019. He said some stores printed transaction receipts that included the first six and last four digits of customers’ card numbers.

The receipts did not include other personal information, such as the middle digits of the users’ cards, the cards’ expiration dates, or the users’ addresses. No customer has reported identity theft as a result of the receipts since the lawsuit was filed, the grocer said.

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However, identity theft doesn’t require submitting a claim for payment.

The settlement was agreed upon by both the grocer and the plaintiff, but still has to be approved by a court. A hearing is set in August.

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