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After years of this being by far the more competitive of the two lead categories, I think it switched this year – but that doesn’t mean there weren’t a lot of great performances in this category this year – some flew too far under the radar.
Performances that I really loved, but didn’t have room for in my top 10 include: Ana de Armas in Knives Out was the surprise lead of the film, and was charming throughout – carrying it through all the twists and turns. Kaitlyn Dever & Beanie Feldman in Booksmart who are perfect together, developing one of the best portraits of teenage female friendship I’ve seen in any movie. Cynthia Erivo in Harriet elevates the rather typical biopic with a fiery performance as the legendary conductor on the Underground Railroad. Charlize Theron in Bombshell does a killer Megyn Kelly impression, and makes her brave, without making her flawless. Rene Zellweger in Judy is the type of comeback performance in a biopic that brings actress and subject into sharp focus. Tao Zhao in Ash is Purest White continues to prove why she is one of the greatest actresses in the world – especially when working with Jia Zhang-ke.
10. Awkafina in The Farewell
Awkafina is the anchor of The Farewell – a sweet, funny, charming and genuinely moving feature about an extended family all returning to China to say goodbye to their dying grandmother – without letting her know she is dying. Awkafina plays the stand-in for director Lulu Wang – telling her own story – and is also the conduit for the audience itself, who may not fully understand Chinese culture, as she asks the questions we are asking ourselves (and should) throughout. All of those things usually mean the lead character can be more than a little dull – or at least not one with much depth. But that isn’t true here – here, Awkafina is genuinely warm and moving, funny and charming, and explores depths of what it means to be Chinese-American – both sides of that being important. This is proof that Awkafina has a long career ahead of her – and she’s not just the insanely funny comic relief she had been cast as before this.
9. Juli Jakab in Sunset
The films of Laszlo Nemes depend a great deal on the faces of his protagonists – the brilliant performance by Geza Rohring at the heart of Son of Saul for instance. In Sunset, his massively underrated follow-up, that role is played by Juli Jakab – a mysterious young woman in pre-WWI Hungry, who returns to Budapest, to try and get a job at the hat store her family once owned – as Budapest descends into chaos, and everyone tries to pretend it isn’t happening. This is a chillier movie and performance than Son of Saul – which did the same thing in limiting your perspective and focusing exclusively on this lead character – and Jakub makes her one of the most fascinatingly distant characters you can imagine. She doesn’t give anything away – but there’s so much going there anyway. It is a great performance, in a great movie, that deserved more attention.
8. Honor Swinton Byrne in The Souvenir
Honor Swinton Byrne’s breakthrough performance in The Souvenir is truly wonderful. Playing the stand-in for director Joanne Hogg in her film school days, who gets involved in a toxic relationship and then cannot find her way back out, Swinton Byrne’s performance here is remarkably subtle. You know she’s making mistakes – and yet, you understand precisely why she’s doing it at the same time. That happiness in the early scenes, gives way to heartbreak, slowly but surely. The film is a coming of age story of sorts – that first adult relationship, that shapes you forever, and you cannot forget, even if you should. Swinton Byrne has big shoes to fill to match her mother’s career – but she has knocked it out of the park her first time to the plate.
7. Aisling Franciosi in The Nightingale
Irish-Italian actress Aisling Franciosi has mainly done TV work (including a couple episode of Game of Thrones) before being tapped for the lead in Jennifer Kent’s brilliant, harrowing follow-up to her debut masterpiece The Babadook. As Clare, a young Irish woman sent to Australia for a prison term in the 1800s for petty teenage crime, and getting more just punishment for the abusive English officer who controls her fate, Franciosi delivers a brilliant performance. The first act of the movie is all abuse – she suffers one horror after another – before she takes control of her fate from then on, with a fierce determination that carries the film through some scenes you may not want to watch. In a just world, this is the type of performance that would make her a star – unfortunately not enough viewers dared to see this film. I know I’ll never forget it however.
6. Saorise Ronan in Little Women
In their two movies together so far, Greta Gerwig and Saorise Ronan have become one of the best actor/director collaborations currently working. Her Jo in Little Women is in many ways, a continuation from the work she was doing in Lady Bird – her character who is full of plans for her future, so outwardly confident, and yet so inwardly insecure – unsure of what to do next. The way Ronan movies through the world is mesmerizing, and she gets the perfect rhythm to Gerwig’s dialogue, which does have a subtle musicality to it. She is great when she is putting on her brave, confident face – but even better when just a part of her breaks a little, and then has to put that brave face back on. Ronan has been one of the great actresses working for a while now – so this isn’t the best performance by the actress who delivered that stunning performance in Brooklyn a few years ago, but it’s more proof that she is one of the greats.
5. Mary Kay Pace in Diane
Mary Kay Pace is one of those terrific character actresses who is always great in everything – but usually the parts are small, and you don’t often notice just how great she is. Kent Jones wrote Diane specifically for Pace – specifically to give her a lead role finally – and Pace wasn’t going to let the role get away. This is a complex role – starting out as how we see a stereotypical mother – selfless, always doing for others, never expecting anything in return – until the film allows its secrets to come out, slowly but surely, and you start to question Diane’s motives – and wonder if that is what matters? The film then goes to some rather profound – and universal – places it winds down. Pace has never delivered a bad performance that I’ve seen – she has never gotten the chance to be this good before, and she is truly remarkable here.
4. Florence Pugh in Midsommar
Florence Pugh’s performance in Midsommar is remarkable for the many different layers she has to hit. This is a horror film, and she does have to hit horror movie beats – which she does brilliantly. But her performance here is also one that is a depiction of depression – the constant drip, drip, drip of it always getting in the way. It’s a portrait of being one side of a couple – the side more afraid to lose the relationship – making excuses for her boyfriend, hell, apologizing to him when it’s his fault. And finally, in those last moments, it’s becoming free of all of that as well. Those who saw Pugh in Lady Macbeth two years ago already knew how brilliant an actress she could be – 2019 confirmed it, nowhere more so than here, where she delivered her best performance to date.
3. Elisabeth Moss in Her Smell
There are few performances this year that just completely “go for it” with the same fearlessness and gusto as Elisabeth Moss’ in Her Smell. In the film, she plays a Courtney Love style rock style – in five long scenes, set over a few years, as she spirals completely out-of-control, hits rock bottom, and then slowly rises up again. It’s a fearless performance, as Moss does nothing in those early scenes to make her character sympathetic – she is raw and full of rage, and pushes everyone – and the audience – to their breaking point. In the two later scenes though, she is fragile – the first one, with her daughter, playing a cheesy pop song on the piano, brings tears to your eye. In the final, as she tries to maintain her grip, without going over, it’s a portrait of vulnerability. Moss really does hit every note imaginable in Her Smell – and nails them all. The great TV actress, finally has the film roll she deserves.
2. Scarlett Johansson in Marriage Story
I know it’s selfish of me, but I’m glad after Avengers: Endgame that perhaps Johannsson’s schedule will be freed up to do more challenging work than she’s been doing basically since her duel brilliance in 2013’s Under the Skin and Her. Her performance in Marriage Story may just be her best work yet – playing a woman who still loves her husband, but knows that if she is ever going to be her own person – and not just an extension of him – she needs to get away from him. She is given a devastating monologue in her lawyer’s office where she lays out everything in one brilliant, long take – mostly in close-up. But she is great throughout – a woman who can cruel and mean, but is also a victim of her husband cruelty as well – and not because anyone is bad, but because that is what marriage has done to them. It is a sensitive, subtle performance and a welcome return to form for Johansson, who has been lost in superhero land for far too long.
1. Lupita Nyong’o in Us
Lupita Nyong’o’s dual performance in Us is truly among the most complexes performances of the year – really in recent memory. Both as Adelaide – the wife and mother – and Red – her murderous doppelgänger – Nyong’o has to find hidden depths – and then keep finding them as the secrets come out, and in turn, makes both of these characters even more complex. In these roles, Nyong’o has to navigate two people’s traumatic pasts, two people’s lies and cover-ups. Oh, and she also has to be absolutely terrifying as well. We have seen a number of truly great horror movie performances in the last few years – and I think Nyong’o’s belongs at the top of the list. Easily the best work of Nyong’o’s already wonderful career.
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