— Brazil’s “O Agente Secreto” matched the country’s all-time record with four nominations — Best Picture, Best International Film, Best Actor, and Best Casting — but went home empty-handed
— Paul Thomas Anderson’s “One Battle After Another” dominated with six wins including Best Picture and Director, while Ryan Coogler’s “Sinners” took four trophies from a record 16 nominations
— Michael B. Jordan won Best Actor over Wagner Moura, and Autumn Durald Arkapaw became the first woman to win Best Cinematography in Oscar history
The 98th Academy Awards delivered a bittersweet night for Brazilian cinema. Kleber Mendonça Filho’s political thriller “O Agente Secreto,” which arrived at the Oscars 2026 ceremony riding a wave of four Cannes prizes and two Golden Globe wins, matched the four-nomination record set by “City of God” in 2004 but left the Dolby Theatre without a single statue. The film lost Best Picture and Best Director nods to Paul Thomas Anderson’s sweeping epic “One Battle After Another,” the inaugural Best Casting Direction award to the same film, and Best International Film to Norway’s “Sentimental Value.” Wagner Moura, who would have been the first Brazilian Best Actor winner, was bested by Michael B. Jordan’s performance in “Sinners.” This is part of The Rio Times’ comprehensive coverage of Latin American financial markets and global developments affecting them.
Oscars 2026: Anderson and Coogler Dominate
The night’s two-way battle played out as predicted. Anderson’s “One Battle After Another” collected six awards — Best Picture, Director, Adapted Screenplay, Editing, Supporting Actor (Sean Penn), and Casting Direction — giving the filmmaker his first Oscar after 11 nominations stretching back to 1998’s “Boogie Nights.” Ryan Coogler’s supernatural thriller “Sinners,” which shattered the all-time record with 16 nominations, took four prizes: Original Screenplay, Cinematography, Score, and Best Actor for Jordan, who delivered an emotional speech invoking Sidney Poitier, Denzel Washington, and the Black actors who preceded him. Jessie Buckley won Best Actress for “Hamnet,” and “Frankenstein” led the technical categories with three wins including Costume Design and Makeup.
Brazil’s Moment on Stage — and Off It
Despite the shutout, Brazil’s presence was unmistakable. Wagner Moura took the stage as a presenter for the new Best Casting Direction category, delivering a tribute in English to casting director Gabriel Domingues before closing with a single word in Portuguese: “parabéns.” The Brazilian delegation’s cheers were audible through the broadcast each time “O Agente Secreto” was mentioned. The film, set in 1977 Recife during the military dictatorship, had already cemented its place in Brazilian cinema history with four Cannes awards, two Golden Globes (Best International Film and Best Actor in a Drama), and prizes from dozens of international festivals. Adolpho Veloso, nominated for Best Cinematography for “Train Dreams,” also made history as the first Brazilian ever nominated in a technical category, though he lost to Autumn Durald Arkapaw of “Sinners” — who became the first woman to win the prize in Oscar history.
The Bigger Picture for Brazilian Cinema
The five combined nominations for “O Agente Secreto” and Veloso represent the strongest Oscar showing in Brazilian film history, surpassing even the “City of God” campaign that introduced the world to Fernando Meirelles two decades ago. The difference this time is scale: Mendonça Filho’s film competed not just in the International Film category but in Best Picture itself, a leap that only a handful of non-English-language films have achieved. Jordan’s win over Moura was widely expected after the SAG and BAFTA results, but the closeness of the race — and the warmth the Academy showed the Brazilian actor throughout the season — suggests that the infrastructure Moura built over a decade in Hollywood, including his role in “Narcos” and subsequent English-language work, has opened a pathway other Brazilian actors may follow.
Other notable moments included a rare tie in Best Live-Action Short, Norwegian director Joachim Trier’s politically charged acceptance speech quoting James Baldwin, and host Conan O’Brien’s pointed reference to the Jeffrey Epstein documents and Prince Andrew’s imprisonment. The documentary prize went to “Mr. Nobody Against Putin,” an unexpected choice over the favored “The Perfect Neighbor.” For Brazil, the Oscars remain an elusive prize — the country has never won — but the 2026 campaign demonstrated that Brazilian filmmaking now operates at the highest tier of global cinema, even if the gold statue stayed in American hands.
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