Tuesday, November 25, 2025 (Los Angeles, CA) – The Hollywood Creative Alliance announced the nominees for the 2025 Astra Film Awards, which will take place on Friday, January 9, 2026 in Los Angeles. The ceremony will live-stream on KNEKT.tv and YouTube, with the host, venue, and honorary award recipients to be announced in the coming weeks.
Paul Thomas Anderson’s One Battle After Another led the nominations, earning recognition for Best Motion Picture – Comedy or Musical, Best Actor in a Motion Picture – Comedy or Musical, Best Director for Anderson, and four supporting nominations for Teyana Taylor, Regina Hall, Sean Penn, and Benicio del Toro.
Tying for second place were Ryan Coogler’s Sinners and Joachim Trier’s Sentimental Value. Both films earned nine nominations including Best Motion Picture – Drama, Best Director, and Best Original Screenplay, as well as multiple acting nominations such as Best Actor for Michael B. Jordan and Best Actress for Renate Reinsve.
Other top nominated films include A24’s Marty Supreme with six, Focus Features’ Hamnet with six, Universal Pictures’ Wicked: For Good with five, Warner Bros.’ Weapons with five, Netflix’s Jay Kelly with five, Netflix’s Frankenstein with four, Focus Features’ Bugonia with four, Netflix’s Train Dreams with four, and Neon’s No Other Choice with four.
Additionally, this year the Hollywood Creative Alliance has officially split Best Picture and all acting categories into two separate groups: Best Motion Picture – Drama and Best Motion Picture – Comedy or Musical. The proposed change was put to a full vote of the HCA membership, which currently consists of 310 members. 60 percent of the current membership supported updating the award structure.
A complete list of all nominees can be found below:
Best Indie Feature
Bob Trevino Like It (Roadside)
Die My Love (Mubi)
Sorry, Baby (A24)
The Chronology of Water (The Forge)
Twinless (Roadside)
Urchin (Picturehouse Entertainment)
Best Action or Sci-Fiction Feature:
F1 (Apple Original Films)
The Fantastic Four: First Steps (Disney/Marvel Studios)
Mickey 17 (WB)
Mission Impossible – The Final Reckoning (Paramount Pictures)
Superman (WB)
Warfare (A24)
Best First Feature
Bob Trevino Likes It (Roadside)
Eleanor the Great (Sony Pictures Classics)
Good Boy (IFC Films)
Sorry, Baby (A24)
The Chronology of Water (The Forge)
Twinless (Roadside)
Best Horror or Thriller Feature
28 Years Later (Sony Pictures)
Black Phone 2 (Universal Pictures)
Bring Her Back (A24)
Final Destination: Bloodlines (WB)
Together (Neon)
Weapons (WB)
Best Performance in a Horror or Thriller
Alfie Williams – 28 Years Later (Sony Pictures)
Alison Brie – Together (Neon)
Ethan Hawke – Black Phone 2 (Universal Pictures)
Indy The Dog – Good Boy (IFC Films)
Sally Hawkins – Bring Her Back (A24)
Sophie Thatcher – Companion (WB)
Best Book to Screen Adaptation
How to Train Your Dragon (Universal)
Mickey 17 (WB)
Superman (WB)
The Housemaid (Lionsgate)
The Life of Chuck (Neon)
The Long Walk (Lionsgate)
Best International Feature
Belén (Amazon MGM)
It Was Just an Accident (Neon)
No Other Choice (Neon)
Sentimental Value (Neon)
Sirât (Neon)
The Secret Agent (Neon)
Best Documentary
Cover Up (Netflix)
It’s Never Over, Jeff Buckley (Magnolia)
My Mom Jayne (HBO Max)
Orwell: 2+2=5 (Neon)
The Perfect Neighbor (Netflix)
Zodiac Killer Project (Music Box Films)
Best Animated Feature
Arco (Neon)
Demon Slayer: Kimetsu No Yaiba The Movie: Infinity Castle (Crunchyroll)
In Your Dreams (Netflix)
KPop Demon Hunters (Netflix)
Little Amélie or the Character of Rain (GKids)
Zootopia 2 (Walt Disney Pictures)
Best Voice Over Performance:
Arden Cho – KPop Demon Hunters (Netflix)
Natalie Portman – Arco (Neon)
Nick Offerman – The Life of Chuck (Neon)
Scarlett Sher – Weapons (WB)
Shakira – Zootopia 2 (Walt Disney Pictures)
Will Patton – Train Dreams (Netflix)
Best Cast Ensemble
Jay Kelly (Netflix)
One Battle After Another (WB)
Sentimental Value (Neon)
Sinners (WB)
Wake Up Dead Man: A Knives Out Mystery (Netflix)
Wicked: For Good (Universal Pictures)
Best Original Screenplay
Jay Kelly – Written by Noah Baumbach and Emily Mortimer (Netflix)
Marty Supreme – Written by Ronald Bronstein and Josh Safdie (A24)
Rental Family – Written by Hikari(Searchlight)
Sentimental Value – Written by Joachim Trier and Eskil Vogt (Neon)
Sinners – Written by Ryan Coogler (WB)
Weapons – Written by Zach Cregger (WB)
Best Adapted Screenplay
Bugonia – Written by Will Tracy (Focus Features)
Frankenstein – Written by Guillermo del Toro (Netflix)
Hamnet – Written by Chloé Zhao and Maggie O’Farrell (Focus Features)
No Other Choice – Written by Park Chan-wook, Don McKellar, Lee Kyoung-mi, and Lee Ja-hye (Neon)
One Battle After Another – Written by Paul Thomas Anderson (WB)
Train Dreams – Written by Clint Bentley and Greg Kwedar (Netflix)
Best Director
Chloé Zhao – Hamnet (Focus Features)
Guillermo Del Toro – Frankenstein (Netflix)
Joachim Trier – Sentimental Value (Neon)
Josh Safdie – Marty Supreme (A24)
Paul Thomas Anderson – One Battle After Another (WB)
Ryan Coogler – Sinners (WB)
Best Supporting Actress in a Motion Picture Comedy or Musical
Ariana Grande – Wicked: For Good (Universal Pictures)
Glenn Close – Wake Up Dead Man: A Knives Out Mystery (Netflix)
Gwyneth Paltrow – Marty Supreme (A24)
Odessa A’zion – Marty Supreme (A24)
Regina Hall – One Battle After Another (WB)
Teyana Taylor – One Battle After Another (WB)
Best Supporting Actor in a Motion Picture Comedy or Musical
Adam Sandler – Jay Kelly (Netflix)
Benicio del Toro – One Battle After Another (WB)
Jonathan Bailey – Wicked: For Good (Universal Pictures)
Josh O’ Connor – Wake Up Dead Man: A Knives Out Mystery (Netflix)
Keanu Reeves – Good Fortune (Lionsgate)
Sean Penn – One Battle After Another (WB)
Best Actress in a Motion Picture Comedy or Musical
Amanda Seyfried – The Testament of Ann Lee (Searchlight)
Chase Infiniti – One Battle After Another (WB)
Cynthia Erivo – Wicked: For Good (Universal Pictures)
Emma Stone – Bugonia (Focus Features)
Eva Victor – Sorry, Baby (A24)
Rose Byrne – If I Had Legs, I’d Kick You (A24)
Best Actor in a Motion Picture Comedy or Musical
Brendan Fraser – Rental Family (Searchlight)
George Clooney – Jay Kelly (Netflix)
Jesse Plemons – Bugonia (Focus Features)
Lee Byung-hun – No Other Choice (Neon)
Leonardo DiCaprio – One Battle After Another (WB)
Timothée Chalamet – Marty Supreme (A24)
Best Supporting Actress in a Motion Picture Drama
Amy Madigan – Weapons (WB)
Elle Fanning – Sentimental Value (Neon)
Hailee Steinfeld – Sinners (WB)
Inga Ibsdotter Lilleaas – Sentimental Value (Neon)
Nina Hoss – Hedda (Amazon MGM)
Wunmi Mosaku – Sinners (WB)
Best Supporting Actor in a Motion Picture Drama
Jacob Elordi – Frankenstein (Netflix)
David Jonsson – The Long Walk (Lionsgate)
Delroy Lindo – Sinners (WB)
Paul Mescal – Hamnet (Focus Features)
Stellan Skarsgård – Sentimental Value (Neon)
Miles Canton – Sinners (WB)
Best Actress in a Motion Picture Drama
Jennifer Lawrence – Die My Love (Mubi)
Jessie Buckley – Hamnet (Focus Features)
Julia Garner – Weapons (WB)
Renate Reinsve – Sentimental Value (Neon)
Sydney Sweeney – Christy (Black Bear)
Tessa Thompson – Hedda (Amazon MGM)
Best Actor in a Motion Picture Drama
Dwayne Johnson – The Smashing Machine (A24)
Dylan O’Brien – Twinless (Roadside)
Jeremy Allen White – Springsteen: Deliver Me From Nowhere (20th Century)
Joel Edgerton – Train Dreams (Netflix)
Michael B. Jordan – Sinners (WB)
Wagner Moura – The Secret Agent (Neon)
Best Motion Picture Comedy or Musical
Bugonia (Focus Features)
Jay Kelly (Netflix)
Marty Supreme (A24)
No Other Choice (Neon)
One Battle After Another (WB)
Wicked: For Good (Universal Pictures)
Best Motion Picture Drama
Frankenstein (Netflix)
Hamnet (Focus Features)
It Was Just an Accident (Neon)
Sentimental Value (Neon)
Sinners (WB)
Train Dreams (Netflix)
Additionally, the Hollywood Creative Alliance announced last week the nominees for the Astra Creative Arts Awards. Ryan Coogler’s Sinners received the most nominations of any film submitted, earning a total of eleven nominations. Wicked: For Good closely followed with ten nominations, while Guillermo del Toro’s Frankenstein rounded out the top three with nine. The Astra Creative Arts Awards will be its own ceremony that will be held on Thursday, December 11, 2025. You can see a full list of nominees for the Astra Creative Arts Awards by visiting TheAstras.com.
Number of Nominations By Film
One Battle After Another – 11 Nominations
Sentimental Value – 9 Nominations
Sinners – 9 Nominations
Marty Supreme – 6 Nominations
Weapons – 5 Nominations
Hamnet – 5 Nominations
Jay Kelly – 5 Nominations
Wicked: For Good – 5 Nominations
Bugonia – 4 Nominations
Frankenstein – 4 Nominations
No Other Choice – 4 Nominations
Train Dreams – 4 Nominations
Sorry, Baby – 3 Nominations
Twinless – 3 Nominations
Wake Up Dead Man: A Knives Out Mystery – 3 Nominations
28 Years Later – 2 Nominations
Arco – 2 Nominations
Black Phone 2 – 2 Nominations
Bob Trevino Likes It – 2 Nominations
Bring Her Back – 2 Nominations
Die My Love – 2 Nominations
Good Boy – 2 Nominations
Hedda – 2 Nominations
It Was Just an Accident – 2 Nominations
KPop Demon Hunters – 2 Nominations
Mickey 17 – 2 Nominations
Superman – 2 Nominations
The Chronology of Water – 2 Nominations
The Life of Chuck – 2 Nominations
The Long Walk – 2 Nominations
The Secret Agent – 2 Nominations
Together – 2 Nomination
Zootopia 2 – 2 Nominations
Belén – 1 Nomination
Christy – 1 Nomination
Companion – 1 Nomination
Cover Up – 1 Nomination
Demon Slayer: Infinity Castle – 1 Nomination
Eleanor the Great – 1 Nomination
F1 – 1 Nomination
Final Destination: Bloodlines – 1 Nomination
Good Fortune – 1 Nomination
How to Train Your Dragon – 1 Nomination
If I Had Legs, I’d Kick You – 1 Nomination
In Your Dreams – 1 Nomination
It’s Never Over, Jeff Buckley – 1 Nomination
Little Amélie or the Character of Rain – 1 Nomination
Mission Impossible – The Final Reckoning – 1 Nomination
My Mom Jayne – 1 Nomination
Orwell: 2+2=5 – 1 Nomination
Rental Family – 1 Nomination
Sirât – 1 Nomination
Springsteen: Deliver Me From Nowhere – 1 Nomination
The Fantastic Four: First Steps – 1 Nomination
The Housemaid – 1 Nomination
The Perfect Neighbor – 1 Nomination
The Smashing Machine – 1 Nomination
Urchin – 1 Nomination
Warfare – 1 Nomination
Zodiac Killer Project – 1 Nomination
Number of Nominations By Distributor/Streamer
WB – 30 Nominations
Neon – 26 Nominations
Netflix – 21 Nominations
A24 – 14 Nominations
Focus Features – 9 Nominations
Universal Pictures – 8 Nominations
Roadside Attractions – 5 Nominations
Lionsgate – 4 Nominations
Amazon MGM Studios – 3 Nominations
Mubi – 2 Nominations
Sony Pictures – 2 Nominations
IFC Films – 2 Nominations
Walt Disney Pictures – 2 Nominations
The Forge – 2 Nominations
Apple Original Films – 1 Nomination
Sony Pictures Classics – 1 Nomination
Black Bear – 1 Nomination
Crunchyroll – 1 Nomination
GKids – 1 Nomination
Paramount Pictures – 1 Nomination
HBO Max – 1 Nomination
Searchlight Pictures – 1 Nomination
20th Century Studios – 1 Nomination
Disney / Marvel Studios – 1 Nomination
Picturehouse Entertainment – 1 Nomination
Music Box Films – 1 Nomination
Magnolia Pictures – 1 Nomination
About The Astra Awards:
The Astra Awards, presented by the Hollywood Creative Alliance, recognize and celebrate outstanding achievements in entertainment and media. The HCA’s mission is to foster a supportive and inclusive community where professionals from all areas of the industry can connect, collaborate, and champion one another. The current guild membership includes actors, critics, creatives, journalists, podcasters, producers, publicists, and writers.
Follow The Astras on social media:
Facebook: @TheAstraAwards
Instagram: @hollywoodcreativealliance
YouTube: @TheAstraAwards
TikTok: @TheAstraAwards
I´m very happy about many of these nominations (for instance OBAA, Bugonia or The Secret Agent), but c´mon – OBAA in the comedy category?!?
That is where WB submitted it for Astra and Golden Globe consideration. Less competition there, I suspect.
But still, it feels wrong.
I think it ultimately is a comedy. It would feel stranger to me in Drama.
The intro and the final act is mostly dramatic, but almost everything in the middle (all the Leo stuff, and the Christmas Adventurers) is played very deliberately for comedy, unlike a lot of “funny dramas” that get put in Comedy these days.
I had the impression that the Christmas Adventurers (apart from their Pynchonesque absurd name) are rather dark and disturbing, especially because much of the film has become a reflection of our increasingly absurd reality. It's a kind of humor that often sticks in your throat.
But apart from that, it's exciting to see how differently films are perceived and classified. I'm sure there are many films that I find difficult to classify as drama or comedy. OBAA is, of course, a genre mix that brilliantly plays with many emotions, but for me, the dramatic impression prevails—perhaps also due to the MAGA movement which makes it impossible for me to distance myself to the plot by saying: Relax, this is just a movie…
For sure, the comedy tends to be a kind of absurd dark comedy that I especially appreciate.
On your final point, I'm a little bit in disagreement with many people on tying the film to contemporary politics. I feel like the Christmas Adventurers represent not so much the right wing, but rather long-standing institutionalised racism and the state violence that stems from it. "16 years later, very little has changed", as they say in the film. What's being endorsed is not really to join the French 75 (which is both destructive and full of bad people) to fight the Christmas Adventurers, but rather for every person to fight the battle within themselves to stand up for good in their own personal ways. In that way, I think it's really resonant in the contemporary political landscape, but in the opposite way that I've seen many people interpret it. It's more of a call to stop the drift of the two camps towards the two extremes, turn the temperature down, and stand up for common decency.
No, I haven't sent a membership request to the French 75 yet LOL… 😉 But as far as the role of the Christmas Adventurers is concerned, they are similar to certain fundamentalist Christians who, as we know, have gained a lot of influence in the USA—they are just as crazy…
This ended up a little rambling, apologies.that ultimately the only character who does actually save Willa is the headhunter Avanti, who judging by the context is by no means a leftist, but still stands up (and dies) for saving the life of an innocent Black girl. These values are more universal and deep than simply a left/right divide. So (and this comes back to what you're writing) the film ultimately circles back in my mind to a call for everyone to fight for good,whatever that means in their heart. The "lessening of tension" comes from people sharing a set of fundamental, universal values that should be the basis of society working together. If we lose sight of that to pursue a kind of faux "civil war", then the world will burn while we are all having fun. I think this is also kind of what is presented in the Perfidia / Lockjaw relationship, who are somewhat mirror images of each other. They are attracted to each other because they are both in it to have fun in some ways, not to stand up for anything – Perfidia is clearly aroused by blowing stuff up; Lockjaw explicitly says that he doesn't care what she blows up as long as he can see her. If anything, these two represent most clearly the political far left and far right, and I think the film pretty strongly condemns their little games with each other that leads to innocent people (in this case, Willa, but also the wider community) suffering.
The age-based perspective you bring up is interesting, and there's certainly an age element to it, but I didn't read the ending as Willa going back to the kind of revolutionary activism that the French 75 did – I think she goes off to a protest, which is a tactic none of the other characters do in the film, so I'd just add that as a different way of fighting in addition to the others you list. But (and this might just be my interpretation, but I definitely find this in the film) those tactics are pretty clearly divided into good and bad: the French 75 way is destructive to everyone, Comrade Josh is more interested in stupid virtue-signalling than to actually help a real person at risk. They both lose sight of the humans in the centre in the name of ideology. The real positive example is Sergio and his whole thing, but he's never an ideologue about it, he just goes about helping people as he can. Also, a lot hinges on the residents of Baktan Cross helping out in their own way, like the kids who report the abduction of the radio guy on the broadcast. This is the kind of work that does actually make a difference in the movie – Junglep**sy preaching on a bank counter achieves nothing for the cause. Even in the Bob / Perfidia relationship, it's Bob who has the human decency to actually care about their daughter – and if he doesn't do much else "for the cause", he brings up and loves a human being who can be another good soul fighting for good.
So in conclusion, the film definitely has a left-wing perspective (as is natural, as the film needs to be authentic to the filmmaker), but I don't find its messaging to be a call for people to join the Left and defeat the Right – rather, to be a compassionate human and fight for good.
That is the subtle difference that I think is crucial: the film definitely has a left-wing perspective on life, America, and important issues, and its characters are explicitly leftists, but it's not a rallying cry to fight against the right (if that makes sense), rather than to fight for values leftists (and definitely not just leftists) find important and worthwhile. The prime example is
I agree with that, and it’s certainly a valid takeaway from the film. I’m probably just splitting hairs here, but what I’d raise as my contention is that I think the film’s messaging works on a somewhat more fundamental “values” level, and the projection of those takeaways from the film through the prism of our own values is what might bring in the current political situation and prescriptions. And thus, such a takeaway (which, again, is very reasonable) is not necessarily a message the film is actively attempting to get across, but rather a projection of the film’s message onto a concrete reality. It does not exclude (like some films do) viewers with a different set of values to have a different takeaway (or a different projection) that may be just as valid and in harmony with the film’s core messaging.
But my disagreement on this is not actually with you, it’s with some really simplistic and ill-considered takes I read online from others, I was just connecting it to what you wrote in your comments.
P.s. This is an entirely different topic, but for example, I think Sinners is very much a movie that locks you out if you don’t agree with its concrete cultural prescriptions.
For sure, I think this is the best thing about art: In most cases, it is not limited to a specific interpretation, but offers many different readings. This is certainly true of very good films, and definitely applies to OBAA. The film is much more than just a description of oppression and rebellion (in a very basic sense). And for me, its impact would also be limited if it could be reduced to that. In that respect, I absolutely agree with you. What you take away from the film is always an individual question.
Regarding Sinners: What bothered me most about the film was its crude mixture of different genres, which didn´t work for me at all.
First up, I don't think this is rambling and rambling is a wonderful thing.
It sounds like our perceptions on the movie differ very little:
Perfidia/Lockjaw, from which I pull more a contemplation on the aesthetics of the revolutionary (which is what a lot of that first section is about to me) and which to even some degree places Lockjaw as an extreme point in the other direction on the "how does an aging person handle their engagement with left-leaning ideas in the past" in that the engagment is only as sexualization of the aesthetics of it and leads only to a hardening of their extreme right-wing ideology. On Perfidia's part, the appeal seems to be the opposite, the ability to hold power over Lockjaw who in every traditional division (male-assumed/female-assumed, racial division, political power structures in an alt-right society) is assumed to have more power. Thus this also becomes merely a fetishization of the notion and the aesthetics of the revolutionary (which that character engages in through that notion). . To make a slight diversion from the topic, in some ways, I think looking at this section, I thought this was what the movie was going to be about because that is the shortest line to what PTA has been making movies about since at least There Will Be Blood (toxic co-dependent relationships and the power structures within ) but it feels like a miraculous event and in and of itself that they manage to move beyond the thing that has clearly been animating them for so long and make a whole movie that goes beyond it.
ConcerningWilla, I'd still argue that out of all the options laid out, where Willa's choice of action is on the map laid out by the other options in the film, it is closer to the French 75 than any of the other options (in that it is public-facing direct action) or at least the structures that are relevant to the later endeavours of the former French 75-adjacent people (Regina Hall's continued actions, the radio network of Billy Goat). Thus to me the film doesn't draw a forceful line in intent between the French 75 and what Willa wants to do, just that the French 75 went about it in a way that achieves nothing (self-gratified and applying violence against a violent oppressor) and even then that approach quickly unravels. Instead, I think the movie leaves Willa's journey on a notion of hope that maybe what she's doing and the possible movements that might spring out of this activism are built on more sensible grounds of genuinely doing good, achieve more and are sustainable.
And of course the movie makes divisions into good and bad tactics:the French 75 and comrade Josh are not applying their wish to change the world for the better in any sensible way, Del Toro seems to be basically the thing to strive for in humanist and engaged root-level community-based action (just the way he says "8:15" is somehow so moving to me), Hall as in some ways the poster child of the revolutionary: someone who remains focused on the cause for decades and manages to keep their humanity (although the contrast of the dead-end which is that character's last scene to the two other interrogation sequences, which are both resolved by people scared of intense consequences giving up is kind of devastating as it implies that maybe there is no string to pull with her which, if we again dip into the notion of the idealized image of the revolutionary, are something that fits very well into a romanticized image of the revolutionary but simultaneously imply a deep sadness concerning the actual person undernath), DiCaprio as someone whose attempts at action failed and thus gave up on doing much themselves but placing their ideals onto the next generation.
However, I think the fundamental the thing that we disagree on is simply the ability to which we can come together for shared ideals. Thus, though I agree that the film doesn't feel like a rallying call to become left-wing but rather about how to do good in the world looked at through a left-wing lens, I question if the problems are too deep. Maybe the most dangerous element of culture war thinking is that it politicizes those very notions that people consider shared ideals (for example, unifying ideals such as truth, freedom and safety become a fight between your truth and mine as well as what you wish to have freedom to do and how it limits my sense of freedom and security, and vice versa), which is gets people to feel like their opposition is not even human because the narrative becomes that these people are spitting on the most fundamental values you hold, even if the people spitting on those values are most likely thinking that they uphold the very same values and in fact you are spitting on said values. Thus, though people's individual moral codes can lead to moments where you genuinely look other people in the eye and come together (such as the one you mention byAvanti ), Probably because of this attitude, I engage with these expressions you mention in the film in different ways.
I really love the aesthetics idea. I personally approached both from a ‘performance’ of their societal/political role angle, but the aesthetics of it is probably even more resonant in a contemporary sense (as these types of figures nowadays don’t actually like to do the thing, only the look of it).
On the Willa part, I think intent is not quite the right differentiation between the tactics, as they all try to work for the same vague goal. The question is focus – is the focus on the ordinary people like Sergio, on the show like Perfidia, or is it to speak up, raise awareness, convince others, like a protest can do? I think that fundamentally differentiates such an approach from the French 75, who were very much against trying to convince anybody of anything.
I have to admit that after three viewings, I still didn’t build up any sort of background for Regina Hall’s character in my head. I’ll see it at least once more before the Oscars when the Blu-ray comes out, so I’ll make sure to pay special attention to her.
I agree with pretty much everything in your last paragraph, but (I’m not sure if I’m interpreting you correctly here) if the issue is the ability to come together around shared ideals (because shared society has disintegrated to a very dangerous point), surely a reminder that this should be possible and desirable is a very resonant message for the film. If the question if the desirability of such coming together, exactly because of the culture war aspects you mention, then my best argument is that I think the film makes a very good case that it is 🙂