Just days before the Oscar ceremony, set for March 2, a controversy is stirring behind the scenes of the world’s most prestigious film awards: many voters of the Academy of Motion Picture Arts and Sciences are not watching all the nominated films before casting their ballots. Anonymous accounts shared with specialized outlets reveal that films like Ainda Estou Aqui, a Brazilian production competing in three categories, including Best Picture and Best International Feature Film, are being overlooked by some of the roughly 9,900 eligible voters this year. This recurring issue, spotlighted in 2025, has sparked outrage among fans and filmmakers, who question the integrity of the process. One voter openly admitted to not finishing Dune: Part Two due to its length and skipping The Substance entirely, exposing subjective and contentious decision-making. The situation highlights flaws in the voting system and fuels calls for reform within the Academy.
The case of Ainda Estou Aqui, directed by Walter Salles and starring Fernanda Torres, stands out. Despite its domestic success, drawing over 5 million viewers in Brazil, and international acclaim, including a Best Screenplay win at the Venice Film Festival, the film is not among the top five Best Picture favorites according to a survey of 84 voters interviewed by Variety. The Best International Feature Film category, where it also competes, saw the highest number of abstentions this year, hinting at disinterest or unfamiliarity among members. Meanwhile, Fernanda Torres, nominated for Best Actress against contenders like Demi Moore and Mikey Madison, faces an uphill battle as voters’ lack of engagement threatens her prospects.
Outraged, cinema enthusiasts have taken to social media to vent their frustration. A post on X captures the sentiment: “If that’s how it works, they should let us vote.” Reports of some voters relying on external opinions or even their grandchildren’s preferences, as Brazilian filmmaker Daniel Rezende lightheartedly noted—he was nominated for City of God in 2004—only deepen the perception that the Oscars sometimes prioritize convenience over artistic merit. With 10,900 Academy members, including about 60 Brazilians like Fernanda Montenegro and Rodrigo Santoro, the selection of winners appears more disconnected from informed consensus than ever.
How the Oscar voting process works
Organized into 17 professional branches—such as actors, directors, and writers—Academy members vote within their fields during the nomination phase. In the final round, which began on February 11 and ends on February 18, all active voters can weigh in on all 23 categories, except Best International Feature Film, which requires proof of viewing all five nominees. For Best Picture, a preferential voting system applies: members rank the ten nominees, and the winner must secure 50% of first-place votes; if no film achieves this, the least-voted is eliminated until a majority emerges.
Surprisingly, watching all nominated films is not mandatory. The Academy encourages members to see as many as possible and vote only on those they’ve viewed, but this remains optional, leading many to abstain in certain categories. This flexibility explains why films like Wicked, bolstered by popular support and standout performances from Cynthia Erivo and Ariana Grande, might lose out to voters waiting for its sequel, Wicked: For Good, to judge the franchise holistically, much like The Lord of the Rings in the past.
Audited by PricewaterhouseCoopers, votes are submitted online and kept confidential until the envelopes are opened during the ceremony. Yet, the lack of a requirement to engage with all nominees raises concerns about fairness, especially as Brazil hopes for its first major Oscar win—a dream that hinges on voters who often seem disinterested or uninformed.
Anonymous voters expose the issue
Revealing their choices anonymously to outlets like Gold Derby and Entertainment Weekly, some Academy members have laid bare their casual approach. One confessed to skipping Ainda Estou Aqui and The Substance, citing no rush to tackle lengthy films like Dune: Part Two. Another explained their Best Picture vote for An Unfinished Symphony as a “process of elimination” rather than a passionate endorsement, suggesting a lack of enthusiasm for the contenders.
Such admissions are not unprecedented. In past years, it’s been known that some members rely on unconventional methods, like asking younger relatives for input on Best Animated Feature, as Daniel Rezende once quipped. In 2025, this trend appears amplified, with record abstentions in Best International Feature Film and candid complaints about films’ runtime or appeal. The indifference has fueled a backlash, particularly in Brazil, where Ainda Estou Aqui carries hopes of a historic win.
Cinema fans, especially in Brazil, have unleashed their anger online. The hashtag #Oscars2025 on X overflowed with criticism, with users arguing that this indifference undermines the efforts of filmmakers and actors like Fernanda Torres, whose performance has earned widespread praise—even a viral “mom” shoutout from the official Oscars account. The disconnect between voters and the works they judge has never felt more glaring.
Brazil’s Oscar chances at risk
Boasting three nominations—Best Picture, Best International Feature Film, and Best Actress—Ainda Estou Aqui entered the Oscar race as a milestone for Brazilian cinema. It’s the first fully Portuguese-language film to vie for Best Picture, surpassing the achievements of past nominees like Central do Brasil (1999) and City of God (2004). However, voters’ reluctance to watch it could dash its prospects, despite its cultural resonance and status as one of Brazil’s top 15 highest-grossing films ever.
Fernanda Torres, pitted against Demi Moore (The Substance) and Karla Sofía Gascón (Emilia Pérez), earned two votes among five anonymous voters polled by Variety—a promising sign, yet fragile amid widespread apathy. In Best International Feature Film, the film also secured two votes in that group, facing The Girl with the Needle and The Seed of the Sacred, but the category’s high abstention rate is a red flag. Experts peg Emilia Pérez, with 13 nods, as the frontrunner, posing a steep challenge for Brazil.
This isn’t the first time unfamiliarity has hurt Brazilian hopefuls. In 1999, Fernanda Montenegro’s loss to Gwyneth Paltrow for Central do Brasil was partly blamed on voters’ lack of exposure to non-English cinema. Now, with a streaming platform provided by the Academy for members to watch all nominees, the excuses for neglect seem thinner, making the oversight even more frustrating.
Films overlooked in the race
Beyond Ainda Estou Aqui, other nominees are feeling the brunt of voter disinterest. Wicked, the Broadway adaptation, faces odd reasoning: some members plan to reward it only after its 2026 sequel, echoing the Lord of the Rings strategy when The Return of the King swept in 2004. Despite grossing over 1 billion dollars worldwide and boasting acclaimed performances, it risks being sidelined this year.
Titles like The Substance and Dune: Part Two have also been dismissed as “too hard to finish” or “overly long,” despite critical and audience praise. Meanwhile, The Brutalist, with ten nominations, and Conclave seem to fare better, though the lack of fervent support among voters hints that Best Picture might hinge on elimination rather than celebration. Here’s a look at some potentially snubbed films:
- Ainda Estou Aqui: Overlooked despite its emotional and historical weight.
- Wicked: Undervalued as voters await its sequel.
- The Substance: Shunned for its length, even with Demi Moore’s standout role.
- Dune: Part Two: Criticized for runtime, despite technical and narrative brilliance.
Awards timeline and what lies ahead
Voting for the 2025 Oscars kicked off on February 11 and wraps up on February 18, with winners revealed on March 2 at the Dolby Theatre in Los Angeles. Key dates include:
- December 17, 2024: Shortlist of pre-selected films announced.
- January 23, 2025: Official nominees revealed, delayed by Los Angeles wildfires.
- February 11–18, 2025: Final voting period for Academy members.
- March 2, 2025: Awards ceremony, broadcast live on Globo in Brazil.
Aired in the U.S. by ABC, the event is expected to draw fewer viewers than 2024’s 18.7 million—an uptick from prior years but far from historical highs. Brazil’s 60 voters, including Selton Mello and Walter Salles, tied to Ainda Estou Aqui, keep hopes alive, though the apathy of some members could spoil the outcome.
Public outcry and calls for reform
Cinema fans, particularly in Brazil, have not held back their dismay. Social media posts like “the Oscars have lost all credibility” and “they should mandate watching everything” reflect a growing discontent with a system that tolerates half-hearted choices. The buzz around Ainda Estou Aqui intensified after its festival wins and emotional resonance, with figures like Preta Gil sharing how it evoked her parents’ exile during Brazil’s dictatorship.
Demands for change at the Academy are not new. Recent efforts to diversify its ranks—adding more women, people of color, and international voices—haven’t tackled the core issue of optional viewing. With actors, the largest voting bloc at about 1,300 members, Torres likely needs at least 210 votes to secure a top-five spot—a tall order given the revealed disinterest. As the ceremony nears, the gap between public passion and voter indifference widens, casting a shadow over the Oscars’ prestige.