The Films of 2025. The 26th annual FiLM BiTCH Awards
PICTURE | ACTING | VISUALS - you are here | AURALS | EXTRAS | SPECIAL | SCENES
AND THE NOMINEES ARE...
|
Best Costume Design
|
||||
 |
 |
 |
 |
 |
|
Alexandra Byrne |
Kumiko Ogawa |
Miyako Bellizzi |
Colleen Atwood |
Ruth E Carter |
| Finally a superhero film with a visual point of view, brilliantly balancing retro-futurism, character details, and unfussy impactful comic book iconography. | Among the year's historical recreation type of costuming efforts, the Kill Bill designer's work was the most thrilling. Traditional Kabuki reborn for our hungry cinephile eyes. | For the colliding worlds of sport, business, and theater and Marty's perpetual social climbing. (Bonus points for those handsome too-worn suits in her other '25 picture History of Sound) | For genius choices on all key characters in these chaotic near-future battlegrounds. Her most inspired work in years. | For 1930s juke joint festive wear, futuristic visitations, wear and tear, and clever through-line color choices. |
|
Finalists: Kate Hawley for her operatic take on Frankenstein, particularly Elordi's mummy cosplay and Goth's insect fetish - it was hard to leave this one out but someone's gotta be in sixth and in truth the nominees (though less gobsmacking (outside of Kokuho) to look at, impressed me more in a character detail PLUS beauty kind of way, Lindsay Pugh for the dramatic and even carnal evening wear of Hedda ...and her victims Semi-Finalists: Malgosia Turzanska for the elegant and earthly colors and textiles of Hamnet (bonus points for the humble beauty of her work in Train Dreams), Cho Sang-Gyeong's work in No Other Choice, like Atwood's in her film, is a brilliant case of finding just the right thing to say about the characters and often in an amusing over-achieving way, Paul Tazewell continuing to explore those pinks and blacks and textures in Wicked For Good, and Rita Azevedo for her 70s authenticity and characterizations in The Secret Agent, and Beatrix DiBeneditto for the style and flourishes of Kill the Jockey particularly on the emergence of Delores. |
||||
|
Best Cinematography
|
||||
 |
 |
 |
 |
 |
| Seamus McGarvey DIE MY LOVE |
Lukasz Zal HAMNET |
Mauro Herce |
William Rexer THE TESTAMENT OF ANN LEE |
Adolpho Veloso TRAIN DREAMS |
|
|
||||
|
Finalists: Michael Bauman for One Battle After Another, Kasper Von Tuxen Sentimental Value, Son Doan for Viet and Nam Semi-Finalists: Evgenia Alexandrova for The Secret Agent, Woo Hyun-kim for No Other Choice , Darius Khondji for Mickey 17, and Joana Luz & Pedro Sotero for Baby |
||||
|
Best Production Design
|
||||
|
|
 |
 |
|
| Kasra Farahani & Jillie Aziz THE FANTASTIC FOUR: FIRST STEPS |
Fiona CrombIe |
Jack Fisk MARTY SUPREME |
Jørgen Stangebye Larsen & Catrine Gormsen for |
Hannah Beachler SINNERS |
| Retro futurism. So sleek. So special. So colorful. And weirdly homey, too. From science labs to rocket ships it's all wonderment. | For that primordial forest, to those humble dingy homes and classrooms, and eventual the magical premiere at the Globe | For those immersive cramped haunts of Mausers: pool halls, tenement flats, crumbling hotel rooms. Jack Fisk never fails the assignment. | For making the family home a full character but also for the sojourns into inky backstage spaces and more luxurous film world homes and hotels. | For the smart detailing of the segregated town, the tiny built-by-hand homes, and of course that exuberant jukejoint under siege. |
|
|
||||
|
Finalists: Fiona Crombie & Alice Felton for the absurd colonial comic future of Mickey 17, and Tamara Deverell and Shane Vieau for the gothic maximalism of Frankenstein Semi-Finalists: Sam Bader for history and minimalist piousness in The Testament of Ann Lee, James Price for the shut-in conspiracy horror and corporate lifelessness of Bugonia, Inbal Weinberg & Kendall Anderson for the 90s verite and toy store color of Roofman, Nathan Crowley for continuing to deck out the wonderland of Oz in Wicked For Good including Elphaba's new insane treehouse, and Darren Gilford for the eye candy digital world madness of Tron Ares |
||||
|
Best Film Editing
|
||||
 |
 |
 |
|
 |
| Alfonso Goncalves & Chloe Zhao HAMNET |
Sean Baker LEFT-HANDED GIRL |
Kim Ho-bin & Kim Sang-beom NO OTHER CHOICE |
Andy Jurgensen |
Nikola Boyanov TWINLESS |
| Economy of storytelling, and smart juxtapositions - knowing exactly when to speed up or slow down. | Maintains childlike energy and monetum despite an episodic structure. Performance shaping power, too. | Beautifully controlled rhythms, tonal swerves, and attention to spontaneity in performance and themes. | Amazing hand with action sequences, comic grace notes, and rhythm. This doesn't remotely feel as long as it is. | Another structurally interesting beauty with detailed intricate attention to performance, surprise, and inevitable heartbreak. |
|
Finalists: Ronald Bronstein & Josh Safdie for maintaining incredible energy in the chaos swirling around and emanating from Marty Supreme, Stephen Mirrione for those incredible racing scenes in F1 The Movie Semi-Finalists: Matheus Farias & Eduardo Serrano for novelistic care with The Secret Agent, Jim Helton & Ron Patane for the smart storytelling and ensemble charms of Roofman, Parker Laramie for the fluid memories, and personal nightmares of Train Dreams, Jinmo Yang for the sci-fi thrills and comedy of Mickey 17, and Toni Froschhammer for the shard-like discomfitting mental havoc of Die My Love |
||||
|
Best Visual Effects
|
||||
 |
 |
 |
 |
 |
|
AVATAR: FIRE AND ASH |
THE FANTASTIC FOUR: FIRST STEPS |
JURASSIC WORLD REBIRTH |
MICKEY 17 | TRON ARES |
| Cameron still out there delivering on his personal mission to push technology to serve genre storytelling (we wish he'd spend more time on the story itself but still...) | For the comic book perfection and surreal sci-fi madness of cosmic powers, world devourers, and silver surfers | It's the best of the Jurassic franchise (post Spielberg) which might not be saying a lot but still! | Real sci-fi beauty, that beautiful cloning machine, and above all else the Creepers | For bringing a video game to life... this time literally (within the movie) |
|
Finalists: F1 The Movie, Thunderbolts* Semi Finalists: Superman, Mission Impossible: Final Reckoning, Elio,Sinners, and Frankenstein |
||||
|
Best MakeUp and Hair |
||||
 |
|
 |
 |
 |
| FRANKENSTEIN | KOKUHO | THE UGLY STEPSISTER |
WEAPONS |
WICKED FOR GOOD |
| You can't hide Elordi's beauty but you can make it creepy and full of patchwork flaws | So many scenes of actors applying elaborate makeup. This is not a complaint. | For taking body horror into some very old places (fairy tales) for gross-out spectacle. | For the terrifying already iconic clown makeup and hair of Aunt Gladys plus those zombiefied children. | While much of Wicked For Good is repetitive achievement, we didn't have a burlap Bailey or a tin Slater before! |
|
Finalists: Bugonia, Marty Supreme, 28 Years Later (what do the Oscars have against zombie movies anyway? It didn't even make their finals!) Semi Finalists: The Smashing Machine, Hamnet, Sinners, and Superman |
||||
The Films of 2025. The 26th annual FiLM BiTCH Awards
PICTURE | ACTING | VISUALS - you are here | AURALS | EXTRAS | SPECIAL | SCENES
2020s 2029 | 2028 | 2027 | 2026 | 2025 | 2024 | 2023 | 2022 | 2021 | 2020
2010s 2019 | 2018 | 2017 | 2016 | 2015 | 2014 | 2013 | 2012 | 2011 | 2010