Great performances don’t just entertain—they resonate, haunt, and sometimes even redefine what we expect from an actor. Every year, a handful of performances transcend mere acting and become something truly unforgettable—transforming films, elevating storytelling, and leaving audiences in awe. In 2024, we saw performances that pushed boundaries, breathed life into complex characters, and made films unforgettable. It was an insane year that rewarded film lovers with a bounty of riches. Horror saw an influx of quality work from a number of actors and the more prestige films had so many great performances, it felt like it was anyone’s night at the Oscars. Some shattered expectations, some cemented their legendary status, and others became the faces of a new generation. Here are the performances that truly defined cinema in 2024.
These are the 50 Best Movie Performances of 2024.
20. Willa Fitzgerald as the Lady in Strange Darling
Despite the fact that most horror fans have already seen it, Strange Darling still feels like the best hidden gem of 2024. It’s a tense and brutal cat-and-mouse thriller which unfolds over the course of a single day that’s told out of order. The twists and turns only work if the actress at the center of things has the capacity to keep you guessing and Willa Fitzgerald definitely rises to the challenge. From the very first frame, she commands attention with a performance that is equal parts vulnerable and ferocious. The narrative structure, which plays with time and perspective, allows Fitzgerald to showcase her versatility—shifting seamlessly between terror, resilience, and cunning.
Her ability to convey fear and desperation without ever feeling like a passive victim elevates the film beyond standard genre fare. Instead, she embodies a layered, unpredictable character who refuses to be defined by the violence around her. What makes Fitzgerald’s work in Strange Darling so compelling is her physicality. This is a role that requires endurance, both in terms of action and emotional depth. Whether she’s running for her life, outwitting her pursuer, or displaying moments of quiet defiance, she never hits a false note. Her expressions, body language, and sharp emotional pivots make her one of the most gripping horror-thriller leads in recent memory.
19. Timothée Chalamet as Bob Dylan in A Complete Unknown
Actors portraying real life people fall under two categories: the ones that look identical to the person they’re portraying and the ones that look nothing like who they’re portraying but capture their essence. Timothée Chalamet as Bob Dylan definitely falls under the second category. He doesn’t look like the famous folk singer at all but he still masterfully embodies Dylan’s distinctive mannerisms, voice, and enigmatic presence. He channels him in appearance, sound, and demeanor without resorting to mere mimicry. While I don’t think the film overall was good enough to receive that many nominations, the performances definitely hold their own against the best of the year. It’s easy to shit on biopics due to the fact that they feel like the lowest form of Oscar bait but when they’re done well, they’re definitely worthy of praise. Bob Dylan’s story was told better and more interestingly in I’m Not There but as a meat and potatoes retelling of his life, A Complete Unknown is solid.
18. Joan Chen as Chungsing Wang in Dìdi
It seems as though the Best Supporting Actress category is where the academy voters just give up and nominate anyone. They spend so much time trying to figure out which movie star should get nominated for the bigger categories that when they get to supporting, they just pick a name out of a hat. Isabella Rossellini has, at most, five minutes of screentime in Conclave. It’s barely a character, let alone a performance. There are cameos that have about the same amount of screentime (like Alec Baldwin in Glengarry Glen Ross or Tom Cruise in Tropic Thunder for example) that received nothing that are more memorable and deserving of accolades. It would be one thing if the year sucked and she got the nom because it was slim pickings but Joan Chen in Dìdi was right there.
In this woefully underseen coming-of-age film, Chen portrays Chungsing, the Taiwanese immigrant mother of the teenage protagonist, Chris. Her portrayal brings depth and authenticity to the character, reflecting the complexities of motherhood and cultural identity. If this was an A24 release, it would’ve been nominated for best picture and Chen most likely would’ve walked away with the gold but since no one saw it, it was quickly forgotten. Dìdi is easily one of the best films of last year that no one saw.
17. Nicole Kidman as Romy Mathis in Babygirl
The ’90s was the decade of the erotic thriller and I feel as though audiences have been missing that sexual heat from cinema screens. They’ve had to settle for YA romances or hilariously silly BDSM fantasies written by middle aged women who’ve never done anything sexually risque in their lives. They miss mature stories about consenting adults that find themselves in power dynamics that threaten to ruin both of their lives. Sex and danger is a powerful combination that, when done right, results in a film that thrills as much as it titillates. Babygirl is the first film in a long time that has that edge.
Nicole Kidman delivers a fearless and multifaceted performance in Babygirl, portraying Romy Mathis, a high-powered CEO who embarks on a tumultuous affair with her younger intern, Samuel (Harris Dickinson). Under the direction of Halina Reijn, Kidman masterfully navigates the complexities of a woman exploring her desires amidst personal and professional upheaval. Her performance is one of the finest in her illustrious career. She captures both vulnerability and subdued emotion, while also being hot as fuck. It’s a fearless performance in a sexy as hell throwback that hopefully opens the door to a erotic thriller comeback.
16. Colman Domingo as John “Divine G” Whitfield in Sing Sing
There is something undeniably powerful about a film that strips away the artifice of Hollywood and finds truth in lived experience. Sing Sing is such a film. An intimate, deeply human story that reminds us of cinema’s ability to reveal the dignity within forgotten lives. The film follows the real-life Rehabilitation Through the Arts program at Sing Sing Correctional Facility, where inmates come together to stage theatrical productions. But this is not a prison-break thriller or a sentimentalized redemption tale. Instead, it is a film about men who, despite the brutal reality of incarceration, discover meaning, community, and freedom within the walls that confine them.
What makes this film special is the supporting cast, many of whom are formerly incarcerated men playing versions of themselves. There is an authenticity to their performances that no amount of traditional acting training could replicate. The film does not ask us to pity them, nor does it excuse their pasts—it simply allows them to exist as complex, feeling human beings. As good as Colman Domingo is in the lead, he never upstages them but instead, feels just as real as they do. If you told me he was a former inmate, I’d believe you. It’s an authentic, lived in performance that was more than deserving of the accolades it received.
15. Hugh Grant as Mr. Reed in Heretic
It’s amazing to me that Hugh Grant, the undisputed king of the rom-com, has had a much better career as a villain. You would think the genre that made him a household name and beloved by generations of women, would be his strong suit but it seems like he was always destined to be the baddie. I don’t think it’s a spoiler to say he is playing a character of insidious intent in Heretic but to reveal what game he’s ultimately playing would be. The film follows two young Mormon missionaries, Sister Paxton (Sophie Thatcher) and Sister Barnes (Chloe East), as they encounter the enigmatic Mr. Reed (Hugh Grant).
The film is one long interaction between the three, with Mr. Reed having quite a lot of opinions about religion and faith. The film’s strength lies in its ability to weave profound theological discussions into the fabric of a horror narrative. Mr. Reed engages the missionaries in debates that challenge their convictions, leading to a psychological unraveling that is both compelling and disturbing. The only reason it isn’t the creepiest character of the year is because Nic Cage in Longlegs exists.
14. Carrie Coon, Elizabeth Olsen, and Natasha Lyonne as Katie, Christina, and Rachel, respectively, in His Three Daughters
I think Netflix’s reputation amongst movie lovers would be better if they did a better job promoting their shit. They have an insanely impressive body of work that disappears the second it leaves their carousel. Which is why you’ve probably never even heard of His Three Daughters. Despite the fact that it has three of the most talented actresses working today, it disappeared as quickly as it hit the streaming service. Which is a shame because it’s damn good. Carrie Coon, Elizabeth Olsen, and Natasha Lyonne deliver exceptional performances as estranged sisters reuniting in their father’s New York apartment during his final days.
Coon embodies Katie, the eldest sister, with a blend of directness and vulnerability. Her performance captures the intricate balance of a woman confronting her father’s impending death while navigating unresolved familial tensions. Olsen portrays Christina, the youngest sibling, with a nuanced mix of anxiety and resilience. Olsen’s interpretation brings forth a character torn between duty and personal boundaries, reflecting the challenges of caregiving and sibling rivalry.
And Lyonne plays Rachel, the middle sister, infusing the role with her signature wit and a facade of nonchalance that belies deeper emotional currents. Lyonne’s portrayal adds complexity to the narrative, offering moments of levity and profound insight into the sibling relationship. Since the film is a three-hander, it was impossible to single out any one performance. They’re all equally amazing and deserved more recognition.
13. Nicolas Cage as Dale Kobble / Longlegs in Longlegs
Despite the fact that he’s been Hollywood’s go-to weirdo for over three decades now, Nic Cage has surprisingly never played a serial killer before. And in a recent interview, he said he will never play one again, and if that’s true, he went out with a bang. Speaking of interviews, to truly understand what Cage is doing in Longlegs, you need to listen to the Big Picture Show podcast episode where they interview the director Oz Perkins. It’s an illuminating and revealing interview that breaks down his career, the origins of the story and the film’s cinematic homages and more importantly, the creation of Dale “Longlegs” Kobble. If you left the film thinking he was a joke, you most likely disliked the film because you thought the character failed at being scary but that was the intent.
You’re not supposed to think he’s scary, you’re supposed to cringe every time you see him. He’s a Satan-worshipping, hard rock-obsessed nerd with terrible plastic surgery to look like Marc Bolan who happens to be the most powerful person in the room. Perkins has a disdain for the recent trend of glamorizing serial killers and wants to portray one realistic to life. Which means, a fucking loser. Kobble is a pathetic, over-the-top lunatic who is neither calculating like Hannibal Lecter nor an unstoppable force like Anton Chigurh. The only reason he’s scary is because he has unexplained powers. It’s a brilliant subversion of the cat-and-mouse trope where the cat in question isn’t the ultimate evil, he’s just a dude who loves Satan.
12. Lily-Rose Depp as Ellen Hutter in Nosferatu
The original plan was for Anya Taylor-Joy to play Ellen Hutter but as great as she always is, I’m glad it went to Lily-Rose Depp. You never know what an actor is capable of until they get the right material and Depp knocked it out of the park. When she was cast, I was actually worried she’d stick out like a sore thumb due to her lackluster work in those Kevin Smith “comedies” she did with his daughter and that terrible show she did with The Weeknd. But not only did she hold her own, she blew everyone else away.
Her performance is most definitely divisive, with some viewers praising Depp’s physicality and presence, while others feel her performance lacks depth. Others go so far as to call it over the top or even gonzo due to her go-for-broke freak outs but where they see over acting, I see a fearless performance. Her character is possessed by lust and the only way to portray that accurately, is to act crazy. Eggers was probably doing cartwheels behind the monitor, he was so happy she understood the assignment as well as she did. He trusted her to throw herself into the role and she did that and then some.
11. Fernanda Torres as Eunice Paiva in I’m Still Here
Say what you will about the Oscars but there’s no denying that if it wasn’t for the award show, a lot of independent and foreign films would never get seen by mainstream audiences. If it wasn’t for her nomination, I never would’ve seen I’m Still Here. It wasn’t on my radar at all and it ended up being one of the best performances of the year. The film, set against the backdrop of Brazil’s military dictatorship, chronicles the harrowing experiences of the Pavia family following the arrest of Eunice’s husband, Rubens Pavia, on suspicions of communist affiliations.
Fernanda Torres is the emotional core of the film and like any good engine, keeps the film going. But unlike gasoline that normally runs an engine, she keeps it going through anxiety and anger. It’s a subdued performance that’s extremely subtle but the emotional depth of her character is always present due to Torres’ expressive eyes. There’s not a single frame where you wonder what she’s thinking. Her eyes tell you exactly what her state of mind is long before she opens her mouth. It’s a remarkable performance and is one of the few examples of the Academy getting it right last year.
30-21 | 10-1
What are some of your favorite movie performances from 2024? Maybe they will show up later in the list!
