By Nathaniel R
It took me a second viewing to appreciate what Margaret Qualley was up to in "The Substance". Great work!
Reckless sex workers, repressed CEOs, witches-in-training, and a triple helping of “Elizabeths” (!?!) factor into the incredible characterizations offered up by gifted actresses in leading roles this past film season. As we say goodbye to the year in cinema just behind us, a tribute to my personal dozen favourites (alpha order) from leading ladies. Though it’s a full dozen I still had to leave out highly enjoyable star turns from June Squibb in Thelma and Scarlett Johansson in Fly Me to the Moon, as well as Amy Adams' funny and underappreciated juggling of dowdy and feral as “Mother” in Nightbitch. The actual shortlist for my own Best Lead Actress honors is revealed at the end.
top dozen - alpha order
Danielle Deadwyler keeps proving both range -- "Cuffee" in The Harder They Fall to "Berneice" in The Piano Lesson this is quite a spectrum -- and a gift for fearless operatic feeling. I long to see her in something really demanding in terms of character, genre, and co-stars who challenge her MVP status… like an Emilia Perez only good!
As noted in the Best Actress volley, what I admired most about Cynthia Erivo & Ariana Grande's Wicked duet, aside from the chemistry and incredible vocal chops, was the deft handling of the very specific demands of this material. Both women have to humanize the witches just enough to ground the fantastical, but not enough to throw off the rather broad demands of genre, feeling, and archetype.
Marianne Jean-Baptiste is memorably furious as “Pansy” in Hard Truths but why? The Mike Leigh favourite provides no easy answers but by burrowing into the pain she makes you feel as protective as her screen sister, despite how oft-putting this character is. I have two questions: How'd you do that Marianne? Who hurt you, Pansy?
Speaking of screen sorcery, Nicole Kidman does her most inspired work in several years as powerful CEO “Romy” in Babygirl. The way she navigates the free-fall spaces between Romy’s blindspots, restless needs, and impulsive leaps off a sexual cliff is simply breathtaking. You’re practically panting alongside her on a hotel carpet.
Oscar winner Mikey Madison is live-wire electric as “Ani” in Anora. She’s so “real” in her role-playing, as stripper, sex worker, and devoted bride, you see why every john – and most deliciously, Ani herself – buys what she’s selling. Despite the controversy in the moment, that Oscar win probably age well.
The dream/nightmare team of Demi Moore and Margaret Qualley as “Elisabeth Sparkles” and “Sue”, respectively, in The Substance, demand placement in this top dozen. Moore is sensational as an aging celebrity consumed with desperation and loneliness, and Qualley is sneakily inspired as her narcissistic reborn id. A Confession: It took me a second viewing to fully appreciate what Qualley was up to but I got there. And the final line reading of “It’s me, Sue” is bathetic perfection.
Reinata Reinsve, who broke out so sensationally with The Worst Person in the World, wows yet again with the fascinating psyche of actress/mother “Elisabeth” in Armand. This complicated woman revels in her own chaos agent power at least as much as she’s genuinely unraveling and grappling with an incredibly concerning situation with her child.
"Supporting" Actress winner Zoe Saldaña gamely dances through all sorts of conflicting character and auteur demands as “Rita” in Emilia Perez with a physically expressive passion.
Tilda Swinton is frazzled, flawed, funny and maddening as “Elizabeth” in Problemista but proves ultimately endearing nonetheless. I realize this is borderline role and I have no objections to people calling it supporting but she's top billed so I can't really go there. Tilda received more awards buzz for her turn in Almodóvar's The Room Next Door but she's stronger here. It's yet another example of awards voters (and the media which influences their decisions) automatically finding drama more 'worthy' than comedy.
Finally, Fernanda Torres beautifully modulates the story of happy wife and mother “Eunice Paiva” faced with terrible circumstances from her fascist government in I’m Still Here. Bonus points for all those thin veils of pleasantry and smiles, masking pain whether in defiance or as mama bear protectiveness.
P.S. Here are the nomination tallies in the Oscar-parallel categories. The Brutalist leads the pack comfortably with 8 nods. The Substance (6), Wicked and Anora (5 each) proved its nearest rivals (at least in these traditional categories). The extra categories are in progress and will be finished within the week.