Best Sound: Ranking Every Nominee of the 98th Academy Awards
Written by Andreas Babiolakis
Welcome to another year of the Academy Awards Project here on Films Fatale! We rank all of the nominees in each category every day.
Here is the category for Best Sound: what has been a wasted opportunity for the past few years. Ever since the Academy saw fit to combine both Best Sound Mixing and Best Sound Editing (which are two completely different branches, I must reiterate every year), the films that wind up in this category have felt a little confusing; is the Academy trying to honour the sounds being made for these films, how the sounds are mixed together, or both? Ideally, the answer is “both”, but that doesn’t always seem to be the case with what winds up being nominated. Nonetheless, the Academy voters usually do a decent job with picking five films that sound great. This year is no different, and the “weakest” film here still felt like a feast for my ears. However, there is one curve ball that I am ecstatic made this list of nominees (to the point that I think it should run away with the award, but that likely will not be the case). Here are your nominees for Best Sound, ranked from worst to best.
5. Frankenstein-Greg Chapman, Nathan Robitaille, Nelson Ferreira, Christian Cooke and Brad Zoern
There is much to appreciate here with Frankenstein’s sound work. The sounds that are created (a massive ship creaking and the ice that breaks below it, flames engulfing an entire building and the collapsing wreckage that follows, various wildlife tickling the surfaces of the film’s overall soundscape) are quite great. Then the ways that every sound is blended together is well handled as well. I have only placed Frankenstein last because it is the nominee that I reflected on the least when it comes to the sound design and mixing; the other four films prioritize their sound work enough that you cannot shake them off. Having said that, Frankenstein is indeed a nice sounding film.
4. One Battle After Another-José Antonio García, Christopher Scarabosio and Tony Villaflor
You know the category is stacked when a film like One Battle After Another is ranked fourth. I think the seldom explosions and gunshots sound extremely crunchy (as do all other sounds of destruction here), but the real star of One Battle After Another’s sound work is how well everything is mixed together (consider all of the noise, how the dialogue is always audible, and even Jonny Greenwood’s score shines throughout the film; nothing ever feels conflicted or difficult to pinpoint). I feel like the other three nominees have highlights throughout the entire film (especially the creation of sound in action-heavy sequences, which One Battle After Another does far more sparingly), but One Battle After Another deserves to be here.
3. F1-Gareth John, Al Nelson, Gwendolyn Yates Whittle, Gary A. Rizzo and Juan Peralta
Where the story for F1 feels typical and not engaging, the film makes up for with the heart of how triumphant this film sounds. The noises of Formula One cars booking it down the track, the squealing of tires, the occasional accident, and all of that audience cheer; everything feels genuine and not like it came from a stock library of sounds. Then comes how well mixed together every sound is. Whether you watch this film at home or in a movie theatre, you feel like you are there, either in the stands or on the asphalt below; everything swirls around you. Most other years, F1 might be the clear winner of this category, but 2025 has two films that feel like anomalies that are even more special.
2. Sinners-Chris Welcker, Benjamin A. Burtt, Felipe Pacheco, Brandon Proctor and Steve Boeddeker
Consider the genres that Sinners embodies. It is a period drama with the sounds of yesteryear proliferated all around you. It is an action-horror flick with the crunchy and bombastic sounds of both genres colliding. Finally, it is a music-driven motion picture where the crispness of instruments and vocals are crucial. Sinners succeeds in all of the aforementioned ways. Furthermore, the sound work here feels like a flowing river that you get swept away by, and you feel (or, rather, hear) the current all around you. Sinners is a magnificently sounding film that will likely run away with this award (and for good reason), but I do want to spotlight one film that deserves it.
1. Sirāt-Amanda Villavieja, Laia Casanovas and Yasmina Praderas
Outside of, say, Jonathan Glazer’s The Zone of Interest (which actually won this Oscar the year it came out), can you recall a time when the Academy had such guts to pick up a film like Sirāt to nominated for its sound? I don’t think Sirāt stands a chance, sadly (The Zone of Interest was at least a Best Picture nominee and the eventual winner of Best International Feature Film), but the fact that it is even here is enough of a win for me. Sirāt is such an exquisitely audible experience that it is a rare film that I can almost hear more than I can see when I reflect upon it. The rave music is well produced and bassy enough that it ripples in your gut and soul. The sounds of a barren desert flows all around you, and you can almost feel the bits of sand and dirt land on your body as you traverse into the unknown. The winds are so believable that you can almost feel their temperature. I could close my eyes and understand Sirāt almost perfectly. Then come the surprise explosions and other forms of wreckage that feel like your bones snapping within you (thankfully this is not the case). I cannot stress enough that Sirāt might be one of the best sounding films of the past ten years, and it would have been a crying shame if the Academy snubbed it. If you are watching various (or all) Oscar nominated films and were not planning on watching this film you’ve never heard of, you are doing yourself a massive disservice. Most of those who do know Sirāt agree on what a mind-melting experience it is.
Who I Want To Win: Let’s go with the underdog who deserves it all! Sirāt to the end, baby!
Who I Think Will Win: This could be the only award that F1 picks up, but I can see Sinners earning this award as well. However, I think this one is going to F1, but I can only hope for a rightfully deserved Sirāt clincher.
Andreas Babiolakis has a Masters degree in Film and Photography Preservation and Collections Management from Ryerson University, as well as a Bachelors degree in Cinema Studies from York University. His favourite times of year are the Criterion Collection flash sales and the annual Toronto International Film Festival.