Jessie Buckley is dug up to marry Christian Bale, while Ian McKellen and Michaela Coel are the double act of the year in Steven Soderbergh’s dark comedy. Here’s our round up of movie magic from the last six months in the UK, in order of release

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Set in the aftermath of the famine, the Hamnet author’s family saga folds in myth and folklore

‘His father was ever a man of few words,” begins Maggie O’Farrell’s 10th novel, a lengthy and ambitious story set in the aftermath of the Irish famine. Land opens in 1865 on a rainswept Irish peninsula and takes us to Dublin, Rome, Quebec and Kerala as it tells the story of two generations and gestures backwards and forwards at two more. The opening line came to O’Farrell on a train journey from Belfast to Dublin, and became the way in to a story based in part on that of her great-great-grandfather, who worked for the Ordnance Survey in Ireland not long after the great hunger. “What, I wondered, would it have been like to be revising the maps at that time,” she writes in a short introductory note; “to be recording and setting down the devastation that had occurred?”

In bitter weather, Tomás and his 10-year-old son Liam are mapping a peninsula – perhaps Dunmore Head in County Kerry, though O’Farrell doesn’t specify – using surveying poles and measuring chains. Tomás is in the pay of the English, who need him not only for his surveying ability and draughtsmanship, but for his language skills: they cannot easily find out from Irish speakers the names of places, or determine who owns what. It is Tomás’s job to untangle complex local legends and obscure toponyms to create a usable map, and he wants to ensure that the marks left by the famine – the empty houses and graveyards – are recorded on it, though the “redcoats” sign their names to his work. A famine survivor himself, scarred by unspeakable trauma, he tolerates this: as we later discover, assisting the surveyors and learning their trade was his route out of the workhouse. He might not have survived otherwise.

Paul Thomas Anderson’s revolutionary epic took home six awards while Sinners scored four including for best actor

• Oscar winners 2026: the full list

• In pictures: Jessie Buckley, Michael B Jordan and Jacob Elordi at the afterparties

Paul Thomas Anderson’s counter-culture caper One Battle After Another has won the Oscars war, taking home six awards after a hotly contested season.

The big-budget comedy thriller, inspired by Thomas Pynchon’s Vineland, was named best picture and also won director, supporting actor for Sean Penn, adapted screenplay, editing and the first ever Oscar for casting, a category long petitioned for within the industry.

Buckley, who plays Shakespeare’s wife Agnes in adaptation of Maggie O’Farrell’s novel, was favourite to win after victories in all preceding ceremonies

• Oscars 2026 winners: the full list

Jessie Buckley has won the best actress Oscar for Hamnet at the 98th Academy Awards.

This is Buckley’s first Oscar win, for which she triumphed over a strong field including Rose Byrne for If I Had Legs I’d Kick You, Kate Hudson for Song Sung Blue and Renate Reinsve for Sentimental Value. With her victory, Buckley becomes the first Irish winner of the best actress Oscar, although previous nominees in the category include Saoirse Ronan (for Brooklyn, Lady Bird and Little Women) and Ruth Negga (for Loving).

The night belonged to One Battle After Another but there were also awards for Sinners and Hamnet – as well as touching tributes, jokes from Conan and plenty more on Hollywood’s biggest night

• In pictures: the best looks from the red carpet
• The winners: the full list
• One Battle After Another sweeps the Oscars as Michael B Jordan and Jessie Buckley win big

Felcity Jones has arrived in lemon-coloured Prada proving old Hollywood – sleeveless, a sprinkle of crystals, a little tulle train, hair in a soft side wave – is bomb-proof if you stick to the formula

One of the most miraculous aspects of the night is that Conan O’Brien will once again host. His turn last year saved what had the potential to be a very dull evening, and it is very exciting to think about what he’ll do this year, with films that people have actually heard of. And, for that matter, what he’ll do about Train Dreams, a film so lacking in comedic potential that O’Brien tore into it during an appearance on Jimmy Kimmel last week.

What makes this even more miraculous is that it’s been reported that O’Brien will earn $15,000 for tonight’s duties, a figure that simultaneously seems quite high and extremely low. This isn’t just a one-night deal for O’Brien; he’s been writing jokes for the show with his staff since the end of last year, and has been on an exhausting weeks-long press tour for the ceremony. And, to put it into perspective, in 2010 – when he became host of the Tonight Show, then lost the Tonight Show, then received a settlement from NBC – it’s estimated that he made close to $40 million.

Excitement in Killarney will reach fever pitch on Sunday, when the actor is hotly tipped to become the first Irish woman to win best actress

If Jessie Buckley wins the Oscar for best actress on Sunday night, County Kerry will need no further proof of a cherished truism: to be born in this corner of Ireland really is the greatest gift that God can bestow. The award would be for Buckley’s performance in Hamnet, but for Killarney, her home town in the county nicknamed the Kingdom, credit will stretch back to her childhood, when she acted in local plays.

“Hollywood here we come!” proclaimed the newspaper Kerry’s Eye, underlining a sense that Buckley’s path to Hollywood for the 98th Academy Awards has been a collective journey propelled by her talent, determination and roots.

While Academy voters are supposed to keep their picks secret, another batch of anonymous ballots have leaked – giving us some insight on a hard-to-call race

• Oscars 2026: how to watch, nominations, what to read and predictions

It took a great deal of blood, sweat and tweets, but in 2016 the Academy finally took notice and started to embrace both diversity and modernity. The #OscarsSoWhite furore over two straight years of all-white nominees (Michael B Jordan’s Creed snub was in my opinion the cruelest) led to a dramatic shake-up and one that has continued ever since with more women, people of colour and international voters added to what had been an overwhelmingly homogenous base.

It has all led to an Oscars race that is increasingly harder to predict using old-fashioned thinking in ways that have become rather thrilling over time, the idea of an “Oscar movie” now far more slippery. Films such as Parasite, Anora, Moonlight, Anatomy of a Fall, Nomadland, Get Out and The Zone of Interest have now found their way into the major categories in past years, and this year’s crop showcases further progression – from foreign language picks to outsider narratives to pricklier characters than ever before.

Fresh from Stranger Things and Hamnet, the pair are surprised to find themselves playing Shakespeare’s star-crossed lovers in the West End. They talk chemistry, dating apps – and what they’ve taught director Robert Icke

Noah Jupe and Sadie Sink are comparing their CVs. “Noah has more Shakespeare experience than me, for sure,” says Sink. “Oh yes, I think so,” replies Jupe. “How many lines?” asks Sink. “Quite a few, actually,” he reports. “More than 10!”

If Jupe wanted to flex, he could say in all truth that he played Hamlet when he was only 19. That was two summers ago, when he stood on the stage in a replica of Shakespeare’s Globe theatre and asked “To be or not to be?” in Chloé Zhao’s Oscar-nominated adaptation of Hamnet.

Fury over Timothée Chalamet’s comments about ballet or Jessie Buckley not liking cats has reached a bizarre fever pitch as the industry wills this Sunday to arrive faster

Around day five of debate over what Timothée Chalamet said and/or meant about opera and ballet, it started to feel like maybe the 2025-2026 Oscar season had actually lasted for the past 17 years.

Voting for the 98th annual Academy Awards concluded on 5 March, but that didn’t stop the internet from throwing a bunch of attempted buzzer-beaters; an interview where Chalamet casually referred to ballet and opera as potentially endangered (and perhaps not especially relevant) art forms was actually held some weeks ago in a conversation with Matthew McConaughey, a fellow actor. But it was that same vote-closing on Thursday when the clip started to circulate virally online and rebuttals poured in. This was swiftly followed by counter-charges that most likely the majority of people excoriating Chalamet, campaigning for best actor in Marty Supreme, had themselves not been to the ballet or opera especially recently.

Oscar favourite insists she is a ‘lover of cats’ after telling podcast about ultimatum she once gave to now-husband

If Jessie Buckley fails to win the Oscar for best actress next week it will be a sign that cat lovers have got their claws out.

The Irish actor is the runaway favourite for her performance in Hamnet, but in recent days has stumbled into a controversy over a stated antipathy to cats.

By forefronting Jessie Buckley’s Agnes at the expense of her megastar husband, this female-directed feminist fest gives voice to the anguished howls of disenfranchised women everywhere

On paper, it already sounds the most Oscary film ever. A movie about a visionary man whose genius made him one of the greatest figures in literature. William Shakespeare is played by Paul Mescal, an actor who leaves no demographic unravished by his outrageous levels of magnetism. And yet Hamnet is a film that sidelines both of these men to supporting roles. The film is about Shakespeare’s wife, Anne Hathaway, long viewed as a dumpy, illiterate woman unworthy of attention – abandoned by Shakespeare in Stratford-upon-Avon when he swanned off to London.

Anne is referred to in Hamnet as Agnes, as she was also known, and played by Jessie Buckley, the Irish actor who could take on the role of a lamp-post and make you feel its pain. We meet Agnes curled asleep in the roots of an ancient tree. She may be illiterate, but she is a gifted herbalist who makes medicines from plants and keeps a falcon. She is her own woman – fierce, intelligent, more than match for the man she calls “the Latin tutor”. Shakespeare’s mother warns him that his bride-to-be is a forest witch.

Paul Thomas Anderson drama scores six awards, as Jessie Buckley becomes first Irish woman to win leading actress prize

• Full list of winners

• Peter Bradshaw’s verdict

• How the ceremony unfolded – the action as it happened

One Battle After Another, Paul Thomas Anderson’s counterculture comedy about a washed-up revolutionary trying to protect his daughter from a ruthless military officer, has dominated the Baftas, taking home six awards including best film, best director, best cinematography, best editing, best supporting actor and best adapted screenplay.

The film, inspired by Thomas Pynchon’s Vineland, was nominated for 14 awards going into Sunday’s ceremony, the most of any contender – including nods for stars Leonardo DiCaprio, Sean Penn, Benicio del Toro, Chase Infiniti and Teyana Taylor.

Every prize as it happens from the ceremony at the Royal Festival Hall in London

• How the night went down
• Peter Bradshaw’s verdict on the Baftas’ winners and losers
• News: One Battle After Another defeats Hamnet and Sinners as Robert Aramayo takes best actor
• The best quotes of the night
• The best looks from the red carpet

Avatar: Fire and Ash – WINNER!
F1
Frankenstein
How to Train Your Dragon
The Lost Bus

Will Paul Thomas Anderson’s ICE age conspiracy thriller sweep the board, or will Sinners and Hamnet share some glory? Our critic places his bets
Full list of Bafta 2026 nominations

Will win One Battle After Another
Should win Hamnet
Shoulda been a contender The Secret Agent

As her Women’s prize-winning novel heads to the Oscars, we rate the author’s best work – from tales of new motherhood to a life-affirming memoir of mortality

The ghost of a previous lover is always a challenge, particularly if you (mistakenly) believe that she’s actually dead. This is the unenviable situation for Lily, the protagonist of O’Farrell’s second novel, who is swept off her feet by dashing architect Marcus and in short order moves in with him. Lily takes his assurances that her predecessor Sinead is “no longer with us” to mark a more permanent absence; in fact, Sinead has simply been thrown over, and it is in the details of the collapse of her relationship with Marcus that the novel most engages. Hints of the gothic ghost story deepen one of the main takeaways, which is that Marcus consists almost entirely of red flags.

His first Oscar nomination, for Hamnet, is testament to the German-born British composer’s chameleon-like adaptability

The German-born British composer Max Richter had never been nominated for an Oscar until this year, though he may – unintentionally – have once scuppered someone else’s chance of winning one.

In 2016, the Academy of Motion Picture Arts and Sciences disqualified Jóhann Jóhannsson’s score for the film Arrival on the grounds that viewers would find it impossible to distinguish the late Icelandic composer’s soundtrack from the bought-in piece of music that book-ended Denis Villeneuve’s alien invasion psychodrama: Richter’s soaring, maximalist-minimalist On the Nature of Daylight.

The Night Manager’s Diego Calva and James Norton are also helping to build hype around small singular hoops

While Chloé Zhao’s Hamnet has been nominated for eight Academy Awards including best picture, for many it is a tiny silver hoop earring worn by Paul Mescal in his portrayal of William Shakespeare that steals the show. Worn in his left ear lobe, the barely there hoop has people fixated online.

“Begging my boyfriend to get a tiny hoop earring too,” reads one post dedicated to the accessory. “I cried for over half of Hamnet, but Paul Mescal’s slutty little earring made me feel conflicted,” reads another.

In a new weekly column about the world of classical music, Tom Service bemoans Hollywood turning pieces into slop through overuse. Plus: Philip Glass withdraws his symphony from the Kennedy Center

Back in 2008, Transport for London came up with a ruse to dispel antisocial behaviour: it piped classical music into supposedly problematic stations in the crime hotspots of south London. I think that was when I realised just how far the association of classical music with relaxing affect instead of real emotion had gone. Once an entire genre has become associated with relaxification, it’s enough for you to hear the sound of an orchestra and think, “This isn’t for me”. Whatever its BPM, classical music will only be a backdrop, the sound of luxury goods, the sound of cultural anaesthetic.

The playlist included the finale of Beethoven’s Seventh Symphony – music that is obsessive and wild, the sound of barely controlled hysteria, full of harmonic grind and rhythmic assault. This radical and Dionysian music, that was literally made to push communities of orchestras and listeners to their extremes in the early 19th century, was being reduced to calming and inoffensive aural wallpaper.

Coogler’s vampire thriller swept the Oscar nominations over Chloé Zhao’s tearjerker and Paul Thomas Anderson’s counterculture thriller. This genre-defying drama about the black experience could now rule awards season
• Full list of nominees
• Sinners becomes first film in history to earn 16 Oscar nominations

Agree with them or not, these Oscar nominations deliver a pert slap to the accepted assumptions of awards season. The industry had been expecting landslides for classy upmarket fare such as Chloé Zhao’s Hamnet, Paul Thomas Anderson’s One Battle After Another and Guillermo del Toro’s Frankenstein, and also for Josh Safdie’s delirious comedy Marty Supreme. And that’s what they got.

But perhaps no one expected these titles to get quite as colossal a smackdown as they got from Ryan Coogler’s vampire drama thriller Sinners: a violent, high-energy fantasia about racism, music and the black experience, which has soared ahead with 16 nominations – the most for any film in 97 years of the Academy Awards. Whatever happens on the night itself, Ryan Coogler has made Oscar history.

Woman who paired Buckley with Paul Mescal in critics’ favourite is contender in new Academy Award category

If you were to compile a list of the most powerful people in the movie business, you might start with the auteurs, the A-list actors or the execs who bankroll Oscar-winning projects.

But among those better-known powerbrokers is another vital cog in the Hollywood machine: the people with the ability to make and grow stars.