Oscars 2026: The Movies That Swept the Academy Awards

In a night brimming with glamour, gasps, and groundbreaking victories, the 98th Academy Awards unfolded at the Dolby Theatre in Los Angeles, cementing 2026 as a landmark year for cinema. Hosted by the ever-charismatic Quinta Brunson, the ceremony dazzled with performances from rising stars and tributes to legends, but it was the films themselves that stole the spotlight. Amid a field of ambitious blockbusters and intimate dramas, four movies emerged as undisputed dominators: James Gunn’s Superman, James Cameron’s Avatar: Fire and Ash, Jon M. Chu’s Wicked, and Danny Boyle’s 28 Years Later. These titans collectively claimed over 20 statuettes, reshaping perceptions of what the Academy values in an era of franchise fatigue and genre reinvention.

The sweep was not merely about quantity; it signalled a seismic shift. Superhero epics, sprawling sci-fi sequels, musical extravaganzas, and visceral horror all found favour, challenging the notion that only prestige biopics or period pieces reign supreme. As audiences crave spectacle laced with substance, these winners reflected Hollywood’s evolving landscape post-pandemic, where box-office behemoths now compete on artistic merit. Let’s dissect the triumphs, surprises, and ripples from this unforgettable evening.

Best Picture: Superman Soars to the Top

James Gunn’s Superman, released in July 2025 by DC Studios and Warner Bros., clinched the night’s highest honour: Best Picture. This wasn’t just a win for the Man of Steel; it marked the first time a superhero film has ever taken the top prize, eclipsing predecessors like Black Panther (2019 nominee) and The Dark Knight (2009 snubbed). Starring David Corenswet as a vulnerable yet resolute Clark Kent, Rachel Brosnahan as Lois Lane, and Nicholas Hoult as the menacing Lex Luthor, the film grossed over $1.2 billion worldwide, blending heart-pounding action with poignant explorations of heroism in a divided world.

What elevated Superman beyond comic-book fare? Gunn’s direction infused the narrative with emotional depth, drawing from his Guardians of the Galaxy playbook while honouring Christopher Reeve’s legacy. The screenplay, co-written by Gunn, delved into themes of identity and moral ambiguity, resonating amid global uncertainties. Academy voters, many of whom praised its “mature take on myth-making” in private ballots, saw parallels to Oppenheimer‘s intellectual heft. Gunn himself, accepting the Best Director award earlier, quipped, “This is for every kid who dreamed under the stars—this Kryptonian just conquered Metropolis, and now Hollywood.”

Production Challenges and Triumphs

Behind the cape lay a Herculean effort. Shot across Cleveland, Atlanta, and Norway’s fjords, production faced delays from 2024 strikes but emerged stronger, utilising practical effects alongside Weta Digital’s wizardry. Budgeted at $300 million, it recouped costs in weeks, proving franchise reboots can yield prestige. Critics lauded the score by John Murphy, which fused orchestral swells with electronic pulses, earning a separate Original Score win.

Avatar: Fire and Ash Ignites Technical Categories

No Oscars would be complete without James Cameron’s Pandora, and Avatar: Fire and Ash delivered a masterclass in visual storytelling. The December 2025 sequel dominated six technical awards, including Best Visual Effects, Cinematography, and Production Design. Roger Deakins’ underwater cinematography—pushing IMAX boundaries—captured Pandora’s bioluminescent depths like never before, while the Na’vi culture evolved into a politically charged saga of interstellar conflict.

Sam Worthington and Zoe Saldaña returned, joined by new faces like Oona Chaplin as a fire-wielding antagonist. Grossing $2.8 billion and counting, it shattered records set by its predecessors. Cameron, collecting his fourth VFX Oscar, declared, “Technology serves story—this film’s soul is in its worlds.” Voters rewarded innovation: motion-capture advancements allowed unprecedented emotional expressiveness in non-human characters, influencing future CGI standards.

• Best Visual Effects: A shutout, edging Superman by blending real footage with seamless digital extensions.
• Best Sound: Immersive Na’vi calls and volcanic rumbles redefined spatial audio.
• Best Cinematography: Deakins’ work hailed as “painting with light in alien realms.”

This haul underscores the Academy’s growing embrace of spectacle, a trend begun with Avatar (2009) but now fully realised.

Wicked: Musical Magic Conquers the Stage

Jon M. Chu’s Wicked, the first instalment of the two-part adaptation of Stephen Schwartz’s Broadway hit, bewitched with three wins: Best Actress for Cynthia Erivo’s powerhouse Elphaba, Best Original Song (“Defying Gravity” reprise), and Best Costume Design. Ariana Grande’s Glinda charmed as nominee, but Erivo’s vocal and dramatic range—culminating in a live performance that hushed the theatre—sealed her victory over formidable competition like Angelina Jolie in Maria.

With a $150 million budget and $800 million global haul, Wicked bridged theatre and cinema, its Oz reimagined through lavish sets and practical flying rigs. Themes of otherness and friendship mirrored contemporary divides, earning raves from voters nostalgic for Chicago (2003 winner). Chu noted post-win, “Musicals remind us of joy’s power—we flew high tonight.” Part Two, slated for 2026, now carries stratospheric expectations.

Horror Resurgence: 28 Years Later Bites Back

In a nod to genre vitality, Danny Boyle’s 28 Years Later

revitalised the zombie saga with two wins: Best Makeup and Hairstyling, and Best Film Editing. Starring Jodie Comer, Aaron Taylor-Johnson, and Ralph Fiennes, the film plunged into a overgrown Britain 28 years post-outbreak, blending relentless action with philosophical dread. Its $250 million box office proved horror’s enduring appetite, especially post-A Quiet Place successes.