The 97th Academy Awards reveal an interesting trend: Hollywood’s top awards group still seems hesitant when it comes to tackling sex. While the Academy has worked to update and broaden its recognition of diverse storytelling, it still feels uncomfortable with movies that explore human sexuality in a direct and bold way.
This year, a striking number of critically acclaimed films and performances that centered around sex and desire were snubbed from the Oscars. From “Babygirl” to “Queer,” “Challengers,” and “The Last Showgirl,” the Academy has once again sidestepped stories that place intimacy, sexual dynamics, and lust at their narrative core.
The Films That Oscars Overlooked
Nicole Kidman’s transformative performance in “Babygirl,” as a corporate executive navigating her sexual awakening through an affair with a younger intern, earned widespread acclaim. Kidman campaigned fiercely for a nomination, but her efforts proved fruitless. Daniel Craig, portraying a gay man grappling with unspoken emotions and raw physicality in “Queer,” also missed out on recognition, despite praise for his vulnerability.
Zendaya’s “Challengers” seemed destined for glory, with its pulsating score, dynamic screenplay, and a narrative that intertwined love, sex, and rivalry on and off the tennis court. Yet, the film faded from contention, overshadowed by bigger blockbusters like “Dune: Part Two” and “Wicked.”
Even “Nosferatu,” a Gothic exploration of lust and mortality, and “The Last Showgirl,” a poignant story of a fading burlesque dancer, failed to secure major nominations. These films, while fearless in their storytelling, didn’t align with what the Academy deemed “Oscar material.”
The Oscars’ Double Standard: Violence Over Sex
It is paradoxical enough that Hollywood should lavish honors on violence while avoiding sex, as the very idea of it makes some producers blush. Movies such as “The Substance,” which has earned this year’s best picture nomination, candidly go into human violence in the extreme with graphic honesty, to praise and honor. Movies focused on human sexuality—an equally profound and universal experience—never see the same kind of light.
This isn’t a new phenomenon. In 2012, Steve McQueen, director of “Shame,” criticized the Oscars for their sex-phobia after Michael Fassbender’s searing performance as a New York sex addict was snubbed. “In America, they’re too scared of sex,” McQueen remarked, a sentiment that remains painfully relevant today.
Why Is Hollywood Afraid of Sex?
The unwillingness to accept films about sex betrays a deeper discomfort within Hollywood and American society. Violence is often sanitized or framed as entertainment, but sex—especially when depicted with complexity and honesty—is somehow taboo. And this discomfort is heightened when films challenge the traditional power dynamics or explore vulnerability and desire.
In “Babygirl,” Kidman’s character flips conventional narratives by taking control of her sexuality, while “Queer” uses physicality to explore emotions that words cannot convey. “Challengers” brings playful eroticism to the forefront, making sex integral to its storytelling. These films don’t treat sex as a mere plot device; they make it central to their narratives, forcing audiences to confront their own biases and discomfort. Stories that depict sex as messy, complicated, and deeply human demand emotional engagement—and that can be an uncomfortable ask for viewers and voters alike.
It’s worth noting that some progress has been made. Films like “Anora,” a best picture nominee this year, tackle themes of sexuality, but only as a means to explore broader relationships and character arcs. Similarly, “Poor Things,” last year’s multi-Oscar-winning masterpiece, used sex as a narrative device rather than its central focus.
The Academy will only recognize a film where sex is a doorway to other issues but won’t honor one where sex is the story.
If the Oscars are to remain relevant and inclusive, they must evolve to reflect the full spectrum of human experience—including sex. Stories like “Challengers” and “Babygirl” deserve recognition not just for their artistry but for their willingness to tackle subjects that Hollywood has long sidestepped.