After watching seven of the eight films in the heaviest category of best film, it could be stated that five of them do deserve their place (only have problems with the overly clear The trial of the Chicago 7 and sentimental Sound of metal) but it was only when it the eighth film began to roll and Anthony Hopkins toured the screen in The Father, as the real party atmosphere set in.

Which was seriously surprising

.

It didn't really sound so festive: A chamber play about a demented man ... and another star who pretends to be ill in a role performance that according to lex Rainman has an Oscar tattooed on his forehead.

But this is much more than that;

an unusual creation with a unique perspective: dementia from the point of view of an affected person.

And the Hopkins icon excels.

Of course.

There has long been inflation in the phrase "the role of his life", but this effort is probably just that.

So insanely formidable - yet surpassed by Florian Zeller's clever script that puts the protagonist's and the spectator's head in complete spin.

It's a perfect little movie.

The rest of the nominations are weak fours

and strong threes, but the second best in the starting field is still Chloé Zhao's Nomadland - who is also heavily tipped for victory.

Critics and civilians on social media in all glory, but it is only when the industry's various galaxies (especially the directors and producers) have handed out their sleazy awards that we know which film is best.

Based on that, one can assume that Nomadland will emerge victorious from the dance around the golden man.

It would also be a historic victory.

It has only happened once that a film with a woman in the register has taken home the best film (Kathryn Bigelows Hurt locker, 2009) and now also maybe a Chinese-American one.

But the ball is round and the figurine is slippery

, so you can not be really sure.

Chloé Zhao has recently received a lot of criticism for the film to romanticize the gig economy (especially the giant Amazon), that kind of thing can come into play, and there are some titles that threaten from behind.

Among others, Lee Isac Chung's Minari who also qualifies for my top three.

This story of a South Korean family's attempt to establish themselves in the United States in the 1980s is a small drama about a man with big ambitions, a South Korean reinterpretation of the American dream.

But old is oldest.

The best is still The father.