The Mexican American component, where her Spanish is not totally fluent, is indigenous to her life’s story. She grew up speaking Spanish until she became an actor, and her fluency waned. This role is a highlight if not just a full circle moment for Gomez, and it should be lauded as such. 

Danielle Deadwyler – The Piano Lesson 

As all of August Wilson’s adaptations serve with strong character arcs and lengthy dialogue, The Piano Lesson is the most spiritual. The film works well as a character piece. With that being said, Wilson’s stage play adaptations don’t really translate well as films, and the same can be said here. It does seem that in comparison to his last two adaptations, this one is an elemental force more than it is situational. The highlight of the film is Danielle Deadwylers multifaceted performance. 

Deadwyler is long overdue for recognition with awards. She received immense acclaim for her break-out role in Till as she played the mother of Emmett Till. While the film was received as a solid body of work, the performance transcended beyond what the film displayed. Deadwyler received nominations from BAFTA and Critics Choice but missed out on SAG, The Golden Globes, and The Oscars. At the time and still to this day, many say that she was owed a nomination and the win. The same rules still apply to this film, as Deadwyler’s performance is the only thing that elevates the film. In the film, Deadwyler plays a widow mourning the death of her husband while raising her daughter and dealing with the societal pressures of being a black woman in the 1930s. The catalyst to this performance is the resentment that she holds towards her family, not only for her husband’s death but for the conceited act of her brother trying to rid the family of their most prized heirloom. In these moments, Deadwyler cements the cracks in the foundation of the film and even more so in the climactic end, where she is tasked with restoring the family’s peace.  

Zoe Saldaña – Emilia Pèrez 

Emilia Pèrez is a performance piece that doesn’t work without all three leading ladies, and at the helm of it is Zoe Saldaña. Saldaña serves as the middleman between her female counterparts. She brings artistic expression to the film, where she provides strong vocals and lively choreography during musical numbers (most notably during “El Mal”). Throughout the film, it relies on her journey in making things happen, and in doing so, Saldaña gives a career-defining performance that rivals her counterparts at times. 

An underlying factor that must be addressed is her runtime in the film. Her runtime caps out at almost 58 minutes, while the presumed lead caps at 52 minutes. The nuance that lies in this discourse is that she is a supporting lead who is doing the bidding for the leading actress. Saldaña does lead this film, but as it progresses, she fades along with her development to a point that makes it easier for the presumed lead to command the film. As she fades into the background, she is still an integral part of the story. Her role does not have a fully realized arc like her counterparts, and that is another layer as to why she plays more of the supporting role while having the most to do at large. Nonetheless, Saldaña is an inventive force in the role, and while fitting in best actress can make sense, it makes just as much sense to put her in higher regard in supporting.

Ariana Grande-Butera – Wicked 

Wicked serves as a dual performance piece with great performances from both leads. Both performances have about the same amount of screen time, and they offer their own unique perspective in juxtaposition to the original Broadway adaptation. It is important to note that in 2004, Idina Menzel (the original Elphaba)  and Kristin Chenoweth (the original Glinda) were both nominated for Best Leading Actress in a Musical at The Tony Awards, where Menzel won. The distinction that lies here is that Ariana Grande-Butera commands the film’s adaptation from a supporting standpoint, whereas her co-lead in Erivo has way more perspective and story in the film. When a play/ musical is adapted to a film, the scope of the original adaptation can change immensely, so it can translate well into a cinematic format that resonates just as well as it does on the stage. Wicked exceeded that expectation, with the focal point of the film being Ariana Grande-Butera. 

Ariana Grande-Butera was meant to play the role of Glinda in this adaptation of the musical. The performance shows that she really took the time to acquiesce to the role because of how much the musical means to thousands of people. From the moment she appears in “No One Mourns The Wicked,” it is easy to put expectations away because she really makes the role her own from that point on. Throughout the film, she is very charismatic, with a self-centered charm that only she could manage. In the film, there are two scenes where her range goes beyond the musical, and it comes from an innate sense of self. That is where she really shines and can make the audience tremble with sheer emotion. For Butera, this is an unforgettable role that showcases that she has more to offer while being remembered for this world-renowned portrayal. 

Felicity Jones – The Brutalist 

The Brutalist is a well-rounded film that has a lot going for it beyond its performances. With the outside forces working alongside the performances it only adds to the film’s elegance. With a nearly 4-hour runtime, the film does not let up on its precision as it continues to build to something greater.  In this instance, while Felicity Jones is only in the scene in the second half of the film, she is the catalyst as to why the first half of the film works so well in the first half as it is discovering its footing. Her narration in the first part of the film gives a glimpse of what surrounds the horrors of post-war Europe. While gearing the audience up for her timely appearance, which is teased before the intermission, at this moment, she gives viewers something to be excited about after the intermission concludes. In the second half, she works as a multiplier of force between her husband and his powerful boss. She caters to both of their strengths and weaknesses, giving memorable monologues. It isn’t until the end of the film that a scene heavily evolves around her, and it involves her commanding a room. This moment is one shot, and she assumes power over everyone in her midst. At that point, all the audience can do is remain speechless. Jones’s contribution to The Brutalist feels a bit understated but only serves as the film’s dark horse as far as performances go. 

Felicity Jones was nominated in 2015 for Best Supporting Actress for The Theory of Everything, where she portrayed Stephen Hawking’s wife, Jane Hawking. With a Supporting Actress nomination under her belt, it is appropriate to have her in the lineup based on that merit. Though merit does come into play, her performance speaks for itself as it is fully realized and offers a lot of levity to an already momentous story. As a contender and performance piece, Jones is a huge power player that will be hard to overlook.