Best Supporting Actress: Ranking Every Nominee of the 97th Academy Awards
Written by Andreas Babiolakis
The Best Supporting Actress category this year is a little less competitive than the Best Supporting Actor nominees, mainly because a couple of the roles here are arguably co-leads of their films (let’s be honest). I feel like the on-screen dominance of these performances is easier to separate them from the far-shorter work that is nominated alongside them, even if every single performance here ranges from really-good to fantastic. With one of the Oscars’ best surprises this year, to a fairly glaring snub (in my opinion), there is much to discuss here. Again, like the Best Supporting Actor category, I’m looking at which performances were not only really good (either on their own, as scene-stealing moments, or as catalysts for the leading performances of their respective films), but ones that stuck with me. Let’s get started.
Here are your nominees for Best Supporting Actress ranked from worst to best.
Biggest Snub: Dìdi-Joan Chen
I knew that Dìdi was going to be snubbed in every single way: it’s a wonderful coming-of-age indie film that just lost all of its awards season steam really early on, even though many critics — like myself — championed it. The most egregious snub has to be the lack of respect and flowers Joan Chen has received this season with a small-but-mighty performance that acts as a tabula rasa for all mothers. Chen has never been better, in my opinion, and she is phenomenal in this film even when she hangs in the background and remains silent (you can read her inner thoughts across her visage). When Chen needs to shine, she goes beyond expectation with purely real acting that is sure to break your heart. I knew I wouldn’t see Joan Chen’s name here, but I was secretly hoping that I was. I also want to shout out Danielle Deadwyler for The Piano Lesson for another terrific performance (albeit in a so-so film, in this case).
5. Conclave-Isabella Rossellini
First off, I adore Isabella Rossellini. Colour me shocked when I realized that this is the acting great’s sole Oscar nomination: she has deserved many in the past. Having said that, while Rossellini is great in Conclave as Sister Agnes (who does play a pivotal part in the second half of the film), she is barely in the motion picture; I believe her part is around eight minutes long, and a good portion of her performance is in silence (although, yes, Rossellini can still be captivating even when lingering in the background and close-lipped). I do think the one sequence where Rossellini is granted the opportunity to shine is seized, but I wish she had more to do in this film because I wouldn’t say this moment is one that defines the film as well as, say, Beatrice Straight’s five-minute iconic moment in Network; it has nothing to do with Rossellini’s capabilities, but rather how the film utilizes her scene (Rossellini’s moment is used to shift plot, whereas Straight’s sequence shatters the pretense of Network and reminds you that some people have beating hearts in this world). All things considered, Rossellini is great as always and I’m happy that she’s finally nominated, but I found the other four performances here more memorable or striking.
4. A Complete Unknown-Monica Barbaro
A major surprise — perhaps one of the biggest — was Monica Barbaro landing an Oscar nomination for playing folk legend Joan Baez in A Complete Unknown; I was worried that she wasn’t being discussed enough alongside Timothée Chalamet’s Bob Dylan and Edward Norton’s Pete Seeger, even though Barbaro keeps up (especially during the musical performances). Lo and behold, Barbaro made the cut. While not a perfect film, one thing I love about A Complete Unknown is how subdued these acting performances are (as to not turn soft-spoken folk staples into caricatures), and Barbaro understood this assignment as well. For those unfamiliar with Baez, Barbaro renders her a mysterious figure who never reveals all of her cards (maybe not on the secretive level as Dylan, but enough that you only understand her as an emotional human being but not as a musician carving her own path). For those who are Baez fans like myself, Barbaro honours the now-overlooked legend with extreme accuracy. I’m placing her fourth because her part is quite small compared to other ones here, and she co-shares her duties with a wonderful Elle Fanning. Still happy to see Barbaro here nonetheless.
3. Wicked-Ariana Grande
Let’s be honest: Glinda (or Galinda, as it were) is a co-lead of Wicked, so her on-screen dominance in this three-hour film will give star Ariana Grande much to work with. I am a huge fan of Grande’s music but never felt like she had a real moment to shine as an actor until now, where Wicked — which is heavily from Glinda’s perspective — grants her ample opportunities to steal scenes, captivate audiences, and be funny, charming, and interesting. While I would like to see Grande try out a dramatic role after this, seeing the pop star dominate as a charismatic tour-de-force is quite special. Grande toes the line of being extra here without ever going overboard, which helps instill the milieu of the beloved witch. When she is the central figure of a scene, Grande capitalizes on this moment and is impossible to ignore or disbelieve. When Cynthia Erivo’s Elphaba is meant to be the focal point, Grande boosts the former’s performance in any way possible. Grande’s Glinda is delightfully unforgettable.
2. The Brutalist-Felicity Jones
I know I was bringing up how shorter performances can make it difficult to rank nominees amongst those with more to work with, but we’ve reached a bit of an anomaly here. Felicity Jones as Erzsébet Tóth in The Brutalist doesn’t show up until after the halfway point (the intermission, if you will). Having said that, firstly, The Brutalist is almost four hours long, so even this is a lot of time to work with. Secondly, I hope you agree with me when I say that even in only roughly half a film, Jones is so good as Erzsébet that she seems like she is in the entire feature when you reflect back on the film. Her performance — for the most part — is one full of gazes: curiosity, confusion, disappointment, and sorrow. She is soft-spoken but not a pushover. Then there is her climactic moment where her booming monologue-esque speech recontextualizes the entire film. I view the ending of The Brutalist to be a statement on lasting legacies (how we remember these characters, so to speak); while Guy Pearce’s Harrison Lee Van Buren fades into nothingness due to his cowardice and monstrous nature, Jones’ Erzsébet will forever be known as the humble person who stood up to corruption and never backed down; Jones nails this purpose with some of her best acting to date. Jones is consistently wonderful in The Brutalist, and at times the best actor within the film; the provides the epic grace, oomph, and emotional weight.
1. Emilia Pérez-Zoe Saldańa
I’ve always understood Zoe Saldaña as an actor, but I’ve never really known what she was fully capable of until she starred as Rita Castro in Emilia Pérez. Now, if you’re thinking that Saldaña is technically a co-lead (and, to some people, the actual protagonist) in this film, I’m right there with you; Rita is as prominent and important as the titular character. That gives her quite an advantage here. Then, there are the complicated dance numbers (Saldaña’s finest moment of this nature is the prolonged banquet scene that acts just as a showcase of the star’s choreographic dominance and ability to juggle many duties at once). That’s all well and good, but singing and dancing aren’t all that there is to the musical genre. Well, fortunately Saldaña delivers her finest dramatic acting to date throughout this film, operating as Emilia Pérez’s conscious and overwhelmed mind throughout a series of difficult decisions and quickly made choices in the face of danger. Saldaña is a superstar in this film, so much so that even those who dislike — nay, detest — this feature can agree that Saldaña is the greatest aspect of said film. Saldaña is sensational here, and I believe she is the strongest nominee of this category this year.
Who I Want To Win: I wouldn’t be opposed to anyone winning this year, but I do think the most dominant performance — where a star leaves everything on the line — is Zoe Saldaña in Emilia Pérez, so I’m going to give my flowers to her.
Who I Think Will Win: Zoe Saldaña for Emilia Pérez. I don’t think it’s even a competition at this point. Unless there is a major boycott that strips the film of all of its potential wins, I think Saldaña will be winning her first Oscar in a few weeks time.
The Academy Awards Project will continue tomorrow with another category: Best Sound. We’re going to rank every single nominee in every single category, Monday through Friday. You don’t want to miss it!
Andreas Babiolakis has a Masters degree in Film and Photography Preservation and Collections Management from Ryerson University, as well as a Bachelors degree in Cinema Studies from York University. His favourite times of year are the Criterion Collection flash sales and the annual Toronto International Film Festival.