The Oscars 2024 are over, but if you still haven’t watched all of the winners, your job is not yet done. The 10 feature films that won Oscars, and two of the shorts, are all out there for you to catch up on, and most of them are already available for viewing at home. Below is your guide for how to catch many of this year’s Oscar standouts.
American Fiction (For Rent)
Cord Jefferson’s acclaimed directorial debut, and now the winner for best adapted screenplay, is yet another critical and awards-season darling based on a novel. Fiction is an adaptation of Percival Everett’s 2001 novel, Erasure, and stars Jeffrey Wright, Sterling K. Brown, Erika Alexander, Tracee Ellis Ross, and Issa Rae. The film had five Oscar nominations, including best picture, lead and supporting acting noms for Wright and Brown, best adapted screenplay, and best original score.
Anatomy of a Fall (For Rent)
Justine Triet’s layered legal thriller was perhaps awards season’s earliest front-runner, taking home the Palme d’Or after its Cannes Film Festival debut last year. It only picked up steam from there, earning five Oscar nominations, including best picture, best director, and best actress for Sandra Hüller. Triet and her cowriter and husband Arthur Harari were the film’s sole winners (for best original screenplay), but we certainly consider star dog Messi an honorary winner, at the very least.
Barbie (Max)
2023’s box office champ also had what might have been the most exciting moment of Oscar night, with Ryan Gosling exceeding expectations for his live performance of “I’m Just Ken.” But of the eight Oscars for which it was nominated, Barbie only wound up taking home one: best original song, for Billie Eilish and Finneas. Still, from the Oscar orchestra playing Dua Lipa’s “Dance the Night” to open and close the show, to host Jimmy Kimmel’s shout-out to famously non-nominated director Greta Gerwig, it was clear Barbie didn’t need any Oscars to cement its legacy.
The Boy and the Heron (Only in Theaters)
The critical acclaim and box office success of what may or may not be Hayao Miyazaki’s final film was enough to land the beloved director his second Oscar for best animated feature (the first was for 2002’s Spirited Away).
Godzilla Minus One (Only in Theaters)
Somehow, this relatively low-budget Japanese phenomenon is the first Godzilla movie to ever receive an Oscar nomination, much less a win for its visual effects. And how appropriate, with director Takashi Yamazaki conjuring a sense of terror and wonder in his portrait of a postwar Japan under siege from an iconic movie monster. Its victory for best visual effects was celebrated onstage by Yamazaki and his team, who carried Godzilla figurines with them to join in the fun.
The Holdovers (Peacock)
Best-supporting-actress winner Da’Vine Joy Randolph was the sole winner for the 1970-set film, which reunites director Alexander Payne with his Sideways star and best-actor nominee Paul Giamatti. In the film, Giamatti plays a cranky professor at an all-boys East Coast prep school forced to stay on campus over the holidays and chaperone a handful of students and fellow employees, including grieving mother and cook Mary Lamb, played by Randolph. Randolph’s emotional acceptance speech, with Giamatti watching on in admiration, was an early highlight of the Oscar ceremony.
The Last Repair Shop (YouTube)
The winner for best documentary short is a collaboration between the Los Angeles Times and Searchlight Pictures, chronicling the lives of the people who work repairing instruments for Los Angeles public school children. Directors Ben Proudfoot and Kris Bowers each had a strong Oscar legacy before they won this year: Proudfoot was already an Oscar winner for his documentary short The Queen of Basketball, he and Bowers were nominated together in the category for 2021’s A Concerto is a Conversation, and Bowers is a composer who has worked on Oscar-nominated films like King Richard, Green Book, and this year’s The Color Purple.
Oppenheimer (Peacock)
The most nominated film of the year—and now best-picture winner—Christopher Nolan’s epic biopic finally earned him a best-director statue. Oppenheimer also took home acting awards for stars Robert Downey Jr. and Cillian Murphy, as well as victories in editing, original score, and cinematography. With a rigorous attention to real history, but a brisk pace that makes three hours fly by, it’s a spectacle that still hits hard on the small screen.
Poor Things (Hulu)
Combine Frankenstein with a coming-of-age road-trip saga and you come close to describing the special alchemy of Poor Things, now a four-time Oscar winner for makeup and hairstyling, production design, costumes, and star Emma Stone’s richest performance yet. The latest installment in Stone’s enduring collaboration with director Yorgos Lanthimos, the film is a visually dazzling and surprisingly moving period piece so appealing that costar Ramy Youssef agreed to do it before reading a word of the script.
20 Days in Mariupol (For Rent)
This harrowing, immersive documentary and winner for best documentary feature emerged as one of the year’s most decorated ever since premiering more than a year ago at the Sundance Film Festival. Filmmaker Mstyslav Chernov breathtakingly documents the 20 days he spent in a Ukranian city under siege immediately following the Russian invasion. It’s the first-ever Oscar winner from Ukraine, as Chernov noted during his emotional acceptance speech. (Currently streaming for free on YouTube.)
The Wonderful Story of Henry Sugar (Netflix)
Wes Anderson is at long last an Oscar winner thanks to this inventive live-action short film, one of four that Anderson made based on lesser-known Roald Dahl stories. Starring Benedict Cumberbatch, Dev Patel, Ben Kingsley, Richard Ayoade, and Ralph Fiennes as Dahl himself, the short film is a dazzling nesting doll of stories, anchored by high-wire performances and, as ever, Anderson’s famous visual flair.
The Zone of Interest (For Purchase)
Jonathan Glazer’s “chilling presentation of evil,” as we’ve described it, is a Holocaust movie unlike any other. It is now an Oscar winner for both best international feature and, in a minor upset, best sound. The film paints a stark portrait of a family—the patriarch played by Christian Friedel and the matriarch by Sandra Hüller (also the star of Anatomy of a Fall)—who live a lavish life despite being located right next to Auschwitz. It was nominated for five Oscars, including best picture, best director, and best adapted screenplay.
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