The Academy Awards. The achievement of a lifetime. Better known as the Oscars, they remain Hollywood’s most glittering and self-indulgent night, where, for a few hours, the film world pauses to celebrate itself.
This year’s ceremony unfolded against what host Conan O’Brien described as “chaotic, frightening times,” a line that landed somewhere between humour and truth. Yet before any of that weight could settle inside Dolby Theatre, the red carpet did what it always does best – distract! It delivered a sea of bespoke gowns and faces that looked untouched by the anxieties of the world. For a moment, cinema’s dreamlike aura remained.
Inside, the night quickly found its rhythm. O’Brien’s opening monologue veered between wit and absurdity, a tone that continued through much of the evening. Some jokes soared, others hovered awkwardly, and a few seemed to exist purely for the chaos of it all. But that unpredictability felt fitting. The Oscars, after all, have never been entirely polished; their charm lies in the possibility that something might go slightly off-script.
For Irish audiences, the standout moment came when Jessie Buckley was announced as Best Actress for her performance in Hamnet. The Kerry-born actor, already admired for her intensity, delivered a performance that felt both fragile and fierce. Taking to the stage, she spoke about “The beautiful chaos of a mother’s heart,” dedicating the award to stories that embrace messiness rather than shy away from it. It was a speech that felt raw in a way the Oscars don’t always allow. Her win marks a significant moment, positioning her as the first Irish performer of her generation to claim the leading actress prize, following in the footsteps of recent winners like Cillian Murphy and reinforcing Ireland’s growing influence in global cinema.
Elsewhere, the night belonged in many ways to Sinners, Ryan Coogler’s ambitious and emotionally charged film. Michael B. Jordan took home Best Actor for his dual performance, delivering a speech that reflected on legacy and the weight of storytelling. The film also secured Best Original Screenplay and Best Original Score, cementing its place as one of the evening’s defining successes. It was a reminder of Coogler’s ability to balance scale with substance, crafting stories that feel very intimate.
Still, the biggest sweep came, for sure, from Paul Thomas Anderson’s One Battle After Another. Long considered one of the most accomplished directors never to have won the top prize, Anderson finally had his moment. The film claimed Best Picture, Best Director, and Best Adapted Screenplay. Sean Penn added to the film’s success with a Best Supporting Actor win.
History was also made behind the camera.
Autumn Durald Arkapaw became the first woman to win Best Cinematography for her work on Sinners, breaking through one of the industry’s most stubborn glass ceilings. It was the kind of milestone that felt overdue (yet no less significant), a sign, perhaps, of a slowly shifting industry.
Not everything ran smoothly, of course. A handful of acceptance speeches stretched well beyond their allotted time, prompting the orchestra to step in with increasing urgency. There were also many moments when the pacing sank. But these imperfections are part of the Oscars’ DNA. Without them, the ceremony might lose the very spontaneity that keeps audiences watching.
The “In Memoriam” segment, led by Barbra Streisand, offered a quieter counterpoint to the evening’s excess. It was a reminder of the legacy behind the spectacle, the generations of artists whose work continues to shape what cinema is.
Looking at the bigger picture, the 2026 Oscars reflected an industry in transition. There is a growing appetite for original storytelling, a broader range of voices being heard, and a continued push toward meaningful representation. Wins for Buckley and Jordan carried weight beyond their individual achievements. They signalled a shift in who gets to be celebrated and remembered.
Watching from afar, it’s hard not to feel the pull of the night, even if it occasionally invites cynicism. Maybe it’s the spectacle, maybe it’s the speeches, or maybe it’s simply the experience of it all. As Buckley might say, it’s a kind of beautiful chaos. And in a world that often feels uncertain, there’s something quietly reassuring about a night dedicated to stories. All the stories that challenge us, move us, and remind us, briefly, of our shared humanity.
Whether you watch for the fashion, the films, or the drama, the Oscars still matter. Not because they are perfect, but because, at their best, they capture something real.
Charlotte Genty – Contributor