Tilta is known for their camera accessories, including everything from rigs like their Hydra Alien Mini to smartphone accessories to camera cages for cameras like the Canon C400 and the Blackmagic PYXIS 6K. Expanding their lineup, they’ve now introduced a practical new addition—batteries with a dedicated charging case.

Portable charging station

The Tilta Charging Case is designed for both Sony and third-party NP-FZ100 batteries (as well as the NP-FW50 used by older Sony camera models) and has four slots for simultaneous charging. In addition to storing batteries securely, the case can also serve as an organized charging hub, reducing cable clutter. According to Tilta, a full set of four batteries in the case can provide up to 13 hours of recording or approximately 2,400 photos, though actual performance will depend on real-world use.

The charging case also supports 45W PD Fast Charging – the NP-FZ100 batteries charge in 3 hours, and the NP-FW50 in 2.1 hours. The company claims this is 68% faster than a standard single charger. It weighs 176 g (0.4lbs), and the dimensions are 121.5 x 57 x 76mm (4.8 x 2.3 x 4in). Note that the charging case does not have an internal battery and must be connected to an external power source to charge batteries.

NP-FZ100 and NP-FW50 batteries with USB-C charging

The Tilta NP-FZ100 and NP-FW50 batteries are designed for Sony cameras, and both offer direct USB-C charging. This eliminates the need for a dedicated charging dock, a feature that can be especially useful for travel or on-location shoots where carrying extra gear is impractical. The batteries are designed to be fully compatible with Sony cameras without triggering pop-up warnings, a common issue with third-party power solutions.

Another key feature is the built-in battery level display, which clearly shows remaining power. The batteries also have multi-core protection, allowing them to operate reliably in temperatures from -20°C to 60°C (-4°F to 140°F).

Practical and convenient

Tilta focuses on convenience with this setup. Direct USB-C charging reduces the need for extra accessories, and the charging case streamlines power management. How it compares to Sony’s own batteries and chargers will depend on durability, charge cycle longevity, and real-world performance. But for shooters looking for a more flexible and organized power solution, this could be worth considering.

Price and availability

The portable charging station and batteries are available now for preorder. The charging station is priced at $29, the NP-FZ100 USB-C Battery (2400mAh) is priced at $39, and the NP-FW50 USB-C Battery (980mAh) is priced at $16.

For more information, visit Tilta’s website.

What features do you look for most in camera batteries—longer runtime, faster charging, or something else? Would a dedicated charging case help you stay more organized on set, or do you prefer individual chargers? Let us know in the comments!

Knowing the rules and breaking them are two sides of a coin. That is, if you want to use camera language intentionally and choose your visual tools according to what you need to achieve in a scene. It’s called “effective images,” and we observe their craft in detail here. In the case of crossing the axis, the same principle applies not to a single shot but to a sequence of shots. Thus, you don’t only think about frames but also how they should match in the edit.

The convention of not crossing the line

Let’s revisit the theoretical basics first. What is the “180-degree rule”? In the MZed course “Fundamentals of Directing,” filmmaker and educator from the International Film Institute of NY, Kyle Wilamowski, calls it “maybe the most important rule in the grammar of directing“:

The 180-degree rule is a basic guideline regarding the on-screen spatial relationship between a character and another character or object within a scene.

A quote from the MZed course “Fundamentals of Directing”

Say you have a dialogue scene at a table and want to break it down into a classical combo: a wide master, a close-up of the first character, and a reverse shot. Imagine this setup as an overhead diagram. Now, draw a line connecting the characters, called the axis. The 180-degree rule implies that the camera will stay on one side of that axis for every shot within the scene.

If we design our shots this way, the first character will always be framed right of the second character, and vice versa. Think of it as a conventional stage play where viewers only sit on one side of the stage. Following this rule helps filmmakers make a scene cohesive and easier to edit (and to watch, for that matter). As long as you don’t cross the axis, your shots will cut together in a nice natural flow and not confuse the audience.

Breaking the rules on purpose

When we talk about moving the camera over the axis, we refer to it as jumping or crossing the line. Breaking the 180-degree rule and filming from all sides is also known as shooting in the round. In his MZed-course “Filmmaking for Photographers,” renowned DP and director Philip Bloom shows us the scenario, when this happens, and what the shot and reverse shot might end up looking like:

It feels weird, right? Both characters are looking in the same direction, which confuses us because we lose a clear sense of their spatial relationship – especially if a “normal” wide shot preceded the frame, as shown in the second image.

At the same time, executing such a sequence requires greater effort from the crew. Typically, we light a scene by positioning the sources behind the camera on the unused side of the axis. Of course, each shot requires some adjustments, but in a traditional dialogue setup, these are minimal. However, crossing the axis would demand a major and time-consuming lighting reorganization. It is not something you do at the spur of the moment. It’s planned. It’s intentional. It’s a tool that filmmakers use for a variety of reasons.   

Emotional impact crossing the line creates

One of the reasons to jump the axis is to evoke a disturbing feeling in viewers that something is wrong. A brilliant example for achieving this effect is in the bathroom scene from Stanley Kubrick’s psychological horror “The Shining”:

As the film creators use wider shots here (and not single close-ups of the characters), breaking the 180-degree rule doesn’t feel like a mistake. We also still understand the spatial relationship between them. Yet this sequence subconsciously makes us feel uncomfortable. Cutting these shots together adds to the surreal nature of the story. In one frame, Jack looks to his right, and in the next one, he himself stands on the right. It seems as if he is talking to himself while accusing a waiter of chopping his wife and daughter into little bits. Can’t be a coincidence, can it?

Emphasizing the change

Crossing the line in a scene suddenly, on the other hand, feels like a jarring hit to the audience. It does something to us emotionally. That’s why it’s a great tool to emphasize a big plot twist, a drastic event, or an internal change a character goes through. For example, do you remember this scene from “Saving Private Ryan”?

Private James Francis Ryan gets the information that all his brothers were killed in combat, and it shatters his world. To heighten the impact, we visibly jump the line and stay there for a few moments as he processes the devastating information. Yet, once he regathers himself, the camera returns to the original side of the 180-degree axis. We don’t see the character crying or breaking down, but the camera conveys his emotions powerfully. This is what we call visual storytelling.

Sliding to the other side

Going “to the other side” carries both literal and metaphorical meanings, making axis jumps a powerful symbolic tool to bridge the two. In fact, we don’t even need to jump. To give you an example, here is how the dialogue between Batman and the Joker slides to the other side in “The Dark Knight” (starting from 01:08):

As we hear the Joker’s idea of who he and the Batman really are, the camera slowly crosses the line. They are both freaks, in his opinion, and that makes them similar.

A more pronounced example of jumping the axis to emphasize a character’s decision to switch sides is this scene from Tarantino’s “Inglourious Basterds”:

While Austrian “Jew Hunter” Landa interrogates French dairy farmer Perrier LaPadite, a primary axis is established. We know the farmer is a good man because he hides a Jewish family, the Dreyfuses, under his floorboards. Yet Landa didn’t get his nickname for nothing. As he manages to press LaPladite into giving up the Dreyfuses for the safety of his own family, the camera jumps the line. The farmer cries as he gives in, but we see he’s just made a deal with the devil.

Opening new opportunities

It may seem from the examples above that crossing the axis always means something bad, disturbing, or negative. No, it just provides a dramatic impact, and as we know, drama likes intense stuff. However, you can also use it to emphasize an essential moment or a new opportunity for the character – essentially, a turning point in their life. In “The Brutalist” – Best Cinematography winner at this year’s Oscars – creators break the 180-degree rule in this particular moment:

A wealthy industrialist, Harrison Lee Van Buren, invites a talented architect and Holocaust-survivor, László Tóth, to a party in his honor. At this point in his life, László is a heroin addict, working as a laborer loading coal and living in charity housing. Suddenly, Harrison offers him a grand project – to design a community center comprising a library, theater, gymnasium, and a chapel. What an opportunity, right? The camera jumps the axis as László can’t find the words to respond. This event will change his life forever, impacting him in multiple ways, as we see later.

Crossing the line in your projects

To sum up, breaking the 180-degree rule is a powerful visual tool to emphasize a dramatic event, or to create an emotional response in the viewer. Maybe even too powerful. So, it’s important to use it with caution: intentional, in the right moment, and not excessive.

What about you? Do you sometimes cross the line in your projects? In which moments do you see it working? What other great film examples come to mind when talking about jumping the axis? Share them with us in the comments below!

Feature image source: combined film stills from “Saving Private Ryan” by Steven Spielberg, 1998, combined with an exemplary diagram of crossing the line from Philip Bloom’s MZed course.

Full disclosure: MZed is owned by CineD.

FUJIFILM is continuing with their tradition to tease upcoming X summits, and this time, it will happen in the capital of the Czech Republic, Prague. Yuji Igarashi-san did not say much but inviting followers to “look forward to exciting news”. Now, if you look closely right at the end of this short video, the subject of said exciting news pops up for a split second. There is a slight hint of a product, darkened, of course, but it looks like a slim, stylish camera body and a fixed lens…?

Last month at CP+ in Japan, I was happy to catch up with Yuji Igarashi-san and Makoto Oishi-san to talk about FUJIFILM’s new upcoming large-format cinema camera, the GFX ETERNA. In case you missed our friendly chat, you can head over here. Nino and I also discussed it in our podcast, so make sure to tune in.

We are looking forward to seeing what will be announced at this year’s FUJIFILM X Summit, and you can count on us to be there to bring you the latest news. So, stay tuned!

Are you curious to find out what FUJIFILM has planned? For example, would you like to see the company bring out an X100V equivalent in a large form factor under the GFX line? Please share your thoughts with us in the comment section below.

As far as we are concerned, up until now, Apple, with the iPhone 15/16 Pro, did not really have any notable competition when it comes to video features that cater to serious content creators. When we refer to “video features”, we look beyond resolution and frame rate, as those are indeed important, but only tell half of the story.

Now comes Xiaomi and with the support of Leica brings an interesting device to the table, and in all honesty, as an iPhone user, the Xiaomi 15 Ultra is the first “non iPhone device” that caught my attention and raised my curiosity.

Xiaomi 15 Ultra – video capabilities

The Xiaomi 15 Ultra allows for 4K video recording at 120fps with both main and periscope telephoto cameras. The phone incorporates Optical Image Stabilization (OIS) and Electronic Image Stabilization (EIS) to reduce shake and maintain video quality. It supports Dolby Vision video recording at 4K 60fps and 10-bit Log video recording across all focal lengths. According to the company, the Xiaomi 15 Ultra is Android’s first ACES Product Partner, it provides industry-grade color accuracy for professional videography. The device includes a 4-Mic array for immersive audio recording with multiple directional recording modes.

Much like with the 14 Ultra, Xiaomi’s new flagship has a quadruple rear camera laid out in a large, round module that dominates the design. It’s equipped with Leica Summilux lenses, offering focal lengths from 14mm to 100mm zoom.

In summary, not much has changed from last year’s 14 Ultra, but the 100mm telephoto lens, now equipped with a 200MP sensor. So, the 15 Ultra has four cameras/lenses: a 14mm ultra-wide camera (a 50MP sensor f/2.2), a 23mm main camera with a fast f/1.63 aperture (features a 50MP Sony LYT-900 1-inch sensor), a 70mm “floating telephoto” (50MP sensor f/1.8 aperture), and a 100mm ultra telephoto (200MP sensor 1/1.4″ sensor size, f/2.6 aperture). 10-bit Log video recording next to 4K/24/30/60p can be conducted across all focal lengths. 4K/120fps is supported when recording on both the main 23mm camera and 100mm periscope telephoto. The phone supports 4-axis OIS image stabilisation in the main 23mm camera, next to EIS for improved image stabilisation. According to Xiaomi, Dolby Vision can be enabled at any focal length to record a greater dynamic range.

On the audio front, the 4-Mic Array includes directional audio recording, omnidirectional audio recording, and audio zoom. Unfortunately, it seems as if the phone does not support external video recording to an SSD, although it features a USB-C 3.2 Gen 2 terminal.

The Photography kit

Here is where it gets a bit more interesting… Like with the Ultra 14 offering, the “Photography kit” (connection via the USB-C), will offer additional protection, a multifunctional camera grip (The grip can also be used as a power bank, it also supports charging your smartphone without removing it), a zoom lever, a dedicated video recording button and quick control over aspect ratio, exposure, and more. The kit includes a decorative metal ring, and after attaching the 67mm filter adapter ring, the lens can be equipped with 67mm ND, Variable ND filter or other camera filters. Last but not least, with the photography grip attached, the phone together with the grip meet the IP54 standard for dust and splash resistance.

I’ll let you guys decide if this new model is worth the upgrade over the 14 Ultra, but no doubt, the Xiaomi 15 Ultra is a good example of the rather incredible journey mobile phone manufacturers have been on. Now that they finally recognized that advanced video recording capabilities are just as important as photo, we might see even more manufacturers offering expanded video recording versatility, but will it be (even more) at the expense of traditional mirrorless cameras? Only time will tell…

The Xiaomi 15 Ultra phone will be sold for around $1,600 (€1,500). For more additional information, please head to Xiaomi’s website here.

The future of mobile phones for capturing images by Xiaomi

In an interesting twist, Xiaomi demonstrated their vision for the future by introducing what they call a “Modular Optical System”. As we can see in the above video, an f1.4 35mm lens backed by a Micro Four Thirds sensor is magnetically integrated to the phone, allowing streams of data to wirelessly be transferred to the phone. We also see how photos will be treated, but hopefully this kind of concept can be implemented for video too. There is no mention of when and if this concept will become a commercial product, but regardless of this, the direction of Xiaomi and others like RealMe is clear. As we mentioned many times before, when it comes to R&D budgets, it will be difficult for traditional camera manufacturers to compete.

Do you see yourself giving up on your Apple iPhone 15/16 Pro and using the Xiaomi 15 Ultra, and if yes, why? Please share your thoughts with us in the comment section below.

Sponsor: This episode is sponsored by FUJIFILM. Check it out at 22:56.

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Chapters & Articles Mentioned in This Episode:

(00:00) – Intro & Overview
(02:03) – Jakob Ballinger’s career path to Lightbridge
(08:40) – Why is reflective light more naturalistic?
(17:17) – The recent ups and downs in the film industry
(21:53) – Early days of Lightbridge
(29:16) – How is the industry changing?
(39:33) – Hierarchy and attitudes on film sets: then vs. now
(54:22) – What’s next for Jakob and Lightbridge?

For more information on Lightbridge, please visit their website.

We hope you enjoyed this episode!
You have feedback, comments, or suggestions? Write us at podcast@cined.com 

If you’re anything like me, you possess a messy box of USB cables, which are separated from their original hard disks and SSDs. And typically, I grab whatever cable I can get a hold of fastest when I need to connect a drive.

That is, until I discovered the substantial difference the right cable can make.

iodyne entering the cable business – how is this even significant?

You might recognize iodyne from our previous review of their Pro Data—the fastest Thunderbolt storage available, designed for collaboration, with hardware RAID-6 configuration and encryption. Clearly engineered for professional applications, with premium pricing to match.

Interestingly, they’ve now ventured into the cable market—which proves more fascinating than it initially might sound. Why? Unlike most manufacturers, cables aren’t an afterthought for iodyne, since all of their products are about achieving the maximum speed possible. My guess is, they were frustrated from the confusion in the market when it comes to fast cables.

iodyne Pro Cables come in 0.3, 1, 2, and 5 meters – both passive and active optical

This becomes evident when examining their cable length options. While they offer standard lengths like 0.3 and 1 meter passive cables similar to competitors, things get interesting with their 2-meter and especially their 5-meter USB4 / Thunderbolt cable — a length exclusive to iodyne in the current market. Both are active optical cables, opening numerous possibilities.

For instance, I have several noisy SSD and HDD RAIDs that distract me during editing sessions. With conventional Thunderbolt cable lengths of 1-1.5 meters, positioning options are limited. However, a 5-meter cable allows me to install the RAID in an adjacent room by simply drilling through a wall, eliminating the distraction entirely. I can even daisy-chain multiple RAIDs and access them all through a single cable.

For NAS devices with Thunderbolt connectivity, this cable enables maximum-speed connections to your primary workstation without requiring specialized fiber networking hardware.

I particularly appreciate the braided construction instead of plastic covering. Despite being optical, the cable maintains impressive flexibility—a crucial feature. They appear durable, though only extended use will confirm their longevity.

As mentioned, both the 2-meter and 5-meter variants utilize active optical technology. Looking forward, I hope they’ll eventually introduce a 10-meter option, further enhancing workstation placement flexibility relative to storage systems.

Alternatively, these cables excel at connecting high-resolution displays across rooms while simultaneously powering your computer. You could have your desktop monitor connected via HDMI while using the extended iodyne Thunderbolt cable to connect a wall-mounted high-resolution television, with your MacBook charging through the same cable—eliminating the need for separate power connections.

iPhone video shooting in ProRes HQ externally with 5 meter iodyne cable

I tested connecting iPhones to external SSDs via the extended cable for ProRes video recording in Apple Log. This setup works perfectly for tripod-mounted phone recording without needing to physically attach the SSD to your device.

I’m impressed that sufficient power transfers through this extended cable to support full-quality 4K ProRes HQ recording at 60 frames per second with zero dropped frames during testing.

Performance testing – finding the right SSDs is a challenge in itself

Now for the critical aspect: performance testing. This proved more complex than anticipated. Our studio’s fastest storage devices include a compact G-Drive Mobile Pro SSD 1TB and a G-SPEED Shuttle SSD 6TB Thunderbolt 3 RAID configured in RAID-0. Contrary to expectations, the single G-Drive Mobile Pro SSD outperformed the RAID-0 configuration, so we focused our comparative testing there. We evaluated a iodyne cable against their 5-meter cable and a generic unbranded Thunderbolt cable.

Remarkably, the extended 5-meter active optical iodyne cable delivered identical performance to its shorter passive counterpart. Multiple benchmark tests using AJA Speed Test on an M2 Max MacBook Pro yielded maximum write speeds of approximately 2160 MB/s and read speeds around 2650 MB/s with the G-Drive Mobile Pro SSD. In contrast, the generic unbranded Thunderbolt cable averaged 700-800 MB/s lower speeds for both reading and writing.

These significant differences demonstrate the profound impact your choice of cable has on drive performance.

Testing sustained maximum transfer rates with iodyne Pro Data

iodyne also loaned us a Pro Data 24TB unit for testing sustained maximum transfer rates. While many SSD devices achieve impressive initial speeds that quickly taper off, premium solutions like the Pro Data maintain consistent high-speed performance for both reading and writing over extended periods.

Using the 5-meter cable with the Pro Data, I achieved sustained write speeds approaching 2000 MB/s and read speeds between 3500-5000 MB/s, using multipathing, that is connecting two cables at once, depending on the benchmarking software employed. We cross-referenced results from AJA Speed Test, Blackmagic Disk Speed Test, and ATTO Disk Benchmark, with variations occurring due to different measurement methodologies. What remains clear is that the Pro Data hardware most effectively leverages the bandwidth capabilities of iodyne Pro Cables.

Conclusion: iodyne Pro Cables replace my “messy box of USB-C cables” for good

What’s my ultimate conclusion from this cable evaluation? It convinces me to discard my collection of unsorted cables and exclusively carry these premium cables when connecting any USB-C device – not just Thunderbolt-compatible ones – to ensure I’m never compromising transfer speeds with substandard cables.

I strongly recommend evaluating your current cable situation and considering an upgrade to iodyne Thunderbolt cables if you value efficiency as much as I do. Fortunately, quality cables represent a relatively modest investment, even premium options like iodyne Pro Cables.

What’s your USB4 / Thunderbolt cable of choice? Have you had any bad experiences with cables before, and realized too late after a job?

You asked, we listened! Back in June, when we launched the CineD-branded CFexpress Type B SE card, which was available for a limited time only, you have been asking us to launch a Type A card. We are excited to announce we have finally done it! For a limited time only, the AV PRO SE CFexpress A CineD Special Edition card is now available on the Angelbird website for $99/€99 (160GB) and $199/€199 (330GB). (Prices are excluding taxes and shipment costs, and depending on what country you are in, will be added to the cart)

CineD CFexpress card – key features

The CineD Edition CFexpress Type A card is designed for high-data-rate video, burst photography, and 8K RAW capture. It keeps up with demanding creative workflows. Optimized for Sony Alpha and FX models, it ensures smooth, reliable performance when you need it most.

Details:

• 160GB/330GB capacity
• Max. read speed: 820 MB/s
• Max. write speed: 730 MB/s
• Sustained read speed: 750 MB/s
• Sustained write speed: 650 MB/s
• Temperature sensor: can withstand temperature extremes
• Moisture, x-ray, shock & dust resistant

Price & availability

The AV PRO SE CFexpress A CineD Special Edition card is now available on Angelbird’s website only via this direct link, while supplies last.

• 160GB for $99/€99 (excluding taxes/shipment)
• 330GB card for $199/€199 (excluding taxes/shipment)

No code is needed. Please note, depending on the country you’re in, taxes and shipment costs will be added automatically.

Availability in the UK: This was a big request from you guys, and now it’s becoming reality. Starting from April onwards, the cards will also be available for customers in the UK.

We also recommend registering your card within 30 days after purchase to receive a 3-year limited warranty.

Additionally, with the purchase of these cards, you will receive the following benefits: a data-recovery service and free 10-day access to MZed Pro, our online education platform for filmmakers and creators with 60 courses.

Thank you all for your input and support! We appreciate it and are excited to see CineD-branded CFexpress cards in action (tag us on social media!). Let us know in the comments what other products you are waiting for.

Now is the time for innovation, for something completely new. Something that we are not even sure will be legal in some Western countries due to safety (or even security) regulations, but hey, it’s exciting to see how the car industry is evolving to support the democratization of content creation.

Lingyuan is a comprehensive system that includes the DJI Air 3S drone next to a drone hangar measuring 0.29 square meters when unfolded, a positioning module, a dedicated mobile app, and advanced AI recognition and image editing software. The drone boasts impressive capabilities, including dynamic takeoff and landing at speeds up to 25 kilometers per hour, the ability to follow vehicles at speeds up to 54 kilometers per hour, and an automatic return feature within a two-kilometer range. Additionally, the drone can self-recharge, efficiently recovering battery power from 20% to 80% in just 30 minutes.

The Lingyuan system, priced at 16,000 Yuan (approximately $2,200), is designed to be compatible with multiple BYD brand vehicles, including the Yangwang U8.

This isn’t BYD’s first EV SUV with a rooftop drone system technology. The main difference is that the current Lingyuan is much cheaper than the one that was introduced about a year ago.

What do you think about an integrated car/drone system? Can you see yourself using one while driving? Please share your thoughts with us in the comment section below.

When a matte box is impractical due to space constraints or lens compatibility, taping filters onto the lens is a widely used alternative. However, tape can detach over time, especially in hot or humid conditions, and removing it can leave adhesive residue. If the tape fails, filters can fall and break, which can be costly.

Taping filters: a common practice with limitations

The Bun-G-Ring is intended to address these issues by using elastic tension instead of adhesive. It consists of a reinforced polyamide ring with Dyneema-threaded bungee cords designed to hold filters in place. The manufacturer states that the system can be installed in under six seconds and supports stacking up to five filters at once.

Design and materials

According to the product’s specifications, the Bun-G-Ring weighs 61.7g (2.17 oz) and is made from glass fiber-reinforced polyamide and stainless steel. Dyneema®, a material commonly used in aerospace and sports applications, is used in the elastic cords for added strength.

The system is advertised as being compatible with all standard filter sizes, though the practical fit may vary depending on lens and filter combinations. The manufacturer has not specified whether the Bun-G-Ring can be used with all filter thicknesses or if certain setups may require adjustments.

Development and availability

According to the people behind the product, it was developed over a period of several years, with over 120 prototypes tested before reaching the final version. The design process involved practical testing on film sets to refine its functionality.

The Bun-G-Ring is being distributed exclusively by Second Reef, with two purchasing options:

• Standard kit (€495) – Includes three different-sized Bun-G-Rings and accessories.
• Triple kit (€495) – Includes three identical Bun-G-Rings with matching accessories.

More details, including compatibility information and user guides, are available on their official website.

Industry adoption remains to be seen

The Bun-G-Ring introduces a different approach to securing filters, but its performance in professional environments will depend on real-world use, and I am guessing the “taping filters” method is often applied due to improvisational needs on set – and I question whether one will have a Bun-G-Ring available when that spontaneous need arises. Whether it provides a reliable alternative to tape will likely be determined by feedback from cinematographers and camera assistants over time.

What do you think about the Bun-G-Ring? Are you taping filters to lenses regularly?

A lot of reviewers and critics write that this year’s ceremony went as predicted, almost boring, save for a few surprises. However, when was the last time we’ve seen a movie nominated in stunning 13 categories, live through the biggest change of fortune, and win just two awards? (I’m talking about “Emilia Pérez,” naturally, which took home trophies for Best Leading Actress and Original Song). A more interesting question: How long ago did another low-budget indie film score all the major wins at the Oscars?

Oscar winners 2025: four awards for Sean Baker

Oh yes, “Anora,” the Academy’s darling of the year. A satirical story that follows a sex worker in the Russian-Armenian neighborhood in Brooklyn, with vintage lenses, chaotic vibes, and a roller-coaster of emotions. The Award’s spotlight, though, was on the man behind the movie. In just one night, Sean Baker went from a filmmaker with no Oscars to a filmmaker with four Oscars, repeating the record of none other than Walt Disney. Baker picked up awards for the original screenplay and directing. Since he also edited and produced Anora, he had to take the stage two more times. That’s the kind of thing that’s more common in indie projects than in blockbusters, isn’t it? Either way, we appreciated his brief but heartfelt speeches.

Surprise, surprise

In total, Anora took home five Oscars, but one of the most talked-about surprises online was Mikey Madison winning Best Actress in a Leading Role over Demi Moore. There’s no debate – both delivered outstanding performances. While Mikey is just launching a career in Hollywood (and doing it spectacularly), Demi Moore’s intense and fearless portrayal of Elisabeth Sparkle marked an ice-breaker after years of silence. Yet, the recognition didn’t follow.

As someone wrote on Reddit: “It’s so ironic she loses for her role in The Substance to a 25-year-old.” (Which is probably the most “The Substance-y” thing that could happen to her). Maybe ironic, but surely not unfair. Again, Mikey’s performance in “Anora” was spot on, and I, personally, am very happy for her. However, many connect this decision to the Academy’s everlasting refusal to acknowledge horrors. Well, at least “The Substance” scored an Oscar for makeup and hairstyling, which they fully deserved.

Best cinematography winner

A 3,5-hour monumental movie about a Holocaust survivor, “The Brutalist” pocketed three Academy awards: for the Actor in a Leading Role (meaning the second Oscar for Adrien Brody), the Best Score, and its outstanding cinematography. I massively enjoyed watching the movie and admired Lol Crawley’s work. However, it’s a bummer that epic visuals of “Dune: Part Two” left empty-handed. Maybe because the masterful approach of Greig Fraser already got a cinematographer’s nod for the first part of this sci-fi beauty?

At the same time, “Dune: Part Two” went home with two well-deserved Oscars for the best sound and visual effects. To no one’s surprise.

The reactions follow

Well, this was a massive night for Sean Baker. His fans triumph all over the Internet, alongside indie genre lovers. Reactions have split into three groups. The first celebrates Anora‘s success and encourages others to explore Sean Baker’s earlier films, like Tangerine and Red Rocket – with some even arguing those are superior to Anora.

Commenters from the second group don’t understand the hype of this comedy drama and call it “a safe choice.” They either liked it but were surprised that it won so many awards or didn’t like it at all but admired its low-budget indie approach.

Indie film lovers, in turn, jubilate the fact that more and more indie productions get the Academy’s recognition. They hope that “Anora” resonates with studio executives, and this will increase financial support for independent projects. Let’s hope that too!

All Oscar winners 2025

You can find the full list with all winners in 23 categories here. 

What do you think about the Oscar race results? Were there any (un-) pleasant surprises for you? Which movie was left out unfairly, in your opinion? And what win brought you the most joy? Let’s discuss the Academy Awards in the comments!

Feature image source: ABC News / A.M.P.A.S. 2025.