The Oscar documentary nominations are out, and they’ve already sparked a wave of excitement—and controversy. Filmmaker Geeta Gandbhir has made history by securing not one, but two nominations, a feat that’s as rare as it is impressive. But here’s where it gets controversial: while Gandbhir’s achievements are being celebrated, two past Oscar winners—Laura Poitras and Mstyslav Chernov—have been snubbed, leaving many in the industry scratching their heads. What does this say about the Academy’s priorities? Let’s dive in.
Gandbhir’s dual nominations are for The Perfect Neighbor, a Netflix documentary feature, and The Devil Is Busy, a short documentary co-directed with Christalyn Hampton. The Perfect Neighbor tackles a harrowing 2023 crime in Ocala, Florida, where a 35-year-old Black mother of four, Ajike Owens, was shot and killed by her 58-year-old white neighbor, Susan Lorincz. What sets this film apart is its storytelling approach—Gandbhir relies almost entirely on police body cam and dash cam footage, offering a raw and unfiltered perspective. This isn’t just a story about a crime; it’s a stark commentary on race, justice, and the fractures in our communities. Is this the kind of documentary that forces us to confront uncomfortable truths, or does it exploit tragedy for shock value? You decide.
In the Best Documentary Feature category, Gandbhir’s film will compete against The Alabama Solution, directed by Andrew Jarecki and Charlotte Kaufman; Come See Me in the Good Light, directed by Ryan White; Cutting Through Rocks, by Sara Khaki and Mohammadreza Eyni; and Mr. Nobody Against Putin, co-directed by David Borenstein and Pavel Talankin. Each of these films brings something unique to the table, but Cutting Through Rocks stands out for its lack of U.S. distribution—yet it still managed to earn a nomination. Directed by an Iranian-born couple now living in New York, the film follows Sara Shahverdi, the first woman in her village to win a seat on the local council in a deeply patriarchal society. It’s a story of defiance and progress, but it also raises questions about global representation in the Oscars. Are we doing enough to amplify voices from underrepresented regions?
Now, let’s talk about the snubs. Laura Poitras, whose Citizenfour won an Oscar, was overlooked for Cover-Up, despite making the shortlist. Similarly, Mstyslav Chernov, who won Best Documentary Feature two years ago for 20 Days in Mariupol, didn’t secure a nomination for his follow-up, 2000 Meters to Andriivka. Both films tackle critical global issues—government surveillance and the Ukraine war—yet they were passed over. Is the Academy shying away from politically charged narratives, or is this just a matter of taste?
On a brighter note, Ryan White’s Come See Me in the Good Light earned him his first Oscar nomination. The Apple TV film tells the love story of poets Andrea Gibson and Meg Falley, who faced Gibson’s terminal cancer diagnosis with grace, humor, and unwavering love. It’s a reminder that even in the darkest times, humanity shines through. But here’s a thought: Are feel-good stories more likely to resonate with voters than gritty, hard-hitting documentaries?
HBO had a strong showing with nominations for The Alabama Solution and two short documentaries, The Devil Is Busy and Armed Only with a Camera: The Life and Death of Brent Renaud. Netflix, meanwhile, had a mixed bag. While The Perfect Neighbor secured a nomination, Apocalypse in the Tropics and Cover-Up were left out. However, Netflix did earn a nod for All the Empty Rooms in the short documentary category.
Speaking of short documentaries, the nominees include Children No More: Were and Are Gone, directed by Hilla Medalia and produced by Sheila Nevins, and Perfectly a Strangeness, a Canadian film by Alison McAlpine that stars—wait for it—three donkeys. Yes, you read that right. Is this a quirky artistic choice or a gimmick? Share your thoughts below.
Finally, let’s not forget the Best Original Song category, where two nonfiction features made the cut. Diane Warren’s ‘Dear Me,’ from the documentary about her life, Diane Warren: Relentless, earned her 17th nomination (though she’s still chasing that competitive win). Meanwhile, ‘Sweet Dreams of Joy,’ an aria from Viva Verdi!, became a rare Oscar nominee for Original Song. Does this signal a growing appreciation for music in documentaries, or is it just an anomaly?
The Oscars will air live on March 15 on ABC and Hulu, and one thing’s for sure: this year’s documentary race is anything but predictable. From Gandbhir’s historic double nomination to the snubs that have everyone talking, it’s clear that the Academy’s choices are as much about storytelling as they are about societal reflection. What do these nominations say about the stories we value—and the ones we leave behind? Let’s keep the conversation going in the comments.
