I’m sheepishly glad I haven’t watched Till at the time I’m writing this because I no doubt would have to find a way to fit Danielle Deadwyler into my five Best Actress nominations. And I had a brutal time compiling this list as it is.

I also have yet to see To Leslie, but I haven’t been lobbied by any A-list stars to vote for Andrea Riseborough either, so I don’t think she’d make my list.

Here are some of the actresses who landed outside of the final five:

Lesley Manville was delightful in the charming Mrs. Harris Goes to Paris, bringing a lot more pathos to her role than the movie required.

Viola Davis, snubbed by the Academy, was a force of nature in The Woman King.

Florence Pugh always delivers award-worthy work, and this year she was excellent in both critical punching bag Don’t Worry Darling and the little-seen Netflix release The Wonder.

Michelle Williams brought complex life to a role inspired by Steven Spielberg’s mother in The Fablemans.

Newcomer Frankie Corio, just 12 years old, has the natural presence you see in the best child actors. She plays off of Paul Mescal beautifully in Aftersun.

Former Academy darling Jennifer Lawrence probably would have waltzed to a nomination for Causeway several years ago.

Regina Hall doesn’t get enough credit for her comedic or dramatic chops. She goes broad but also shows glimpses of the hurt behind the cheerful facade of her preacher’s wife character in Honk For Jesus, Save Your Soul.

Jenna Ortega had a breakout year thanks to the Netflix show Wednesday but she started it off with her raw, vulnerable performance in school shooting drama The Fallout.

Finally, Jenny Slate gives a hilarious, heartfelt voice performance as the title character of Marcel the Shell with Shoes On. If voice work is ever going to receive an acting nomination, it should be for a tour de force like this one.

And the nominees are…

Cate Blanchett – TÁR
However good you’ve heard Blanchett is as problematic genius composer Lydia Tár, she’s actually better. This is a meaty role and Blanchett tears into it with gusto, never seeking sympathy but somehow earning a measure of it by making Lydia so imperfectly human.

Mia Goth – Pearl
If the Academy wasn’t so biased against horror films, Goth would have been an easy contender in this category. Her 7-minute monologue at the film’s climax, filmed in a single unbroken take, was the most riveting scene of the year. Goth lays bare a soul and a psyche cracking at the seams.

Zoe Kravitz – Kimi
Kravitz skillfully embodies agoraphobic techie Angela in this taut thriller, building her from the outside in through a series of physical quirks without losing sight of the relatable human being within. Forget bodily transformations and heavy accent work, this is what it looks like to disappear into a character.

Emma Thompson – Good Luck to you, Leo Grande
Critics throw around the word “brave” when describing acting performances, as if these highly-paid artists were strapping on weapons and heading to war. But Thompson’s work in this two-hander is truly courageous, requiring her to bare both her body and soul with unflinching honesty.

Michelle Yeoh – Everything Everywhere All at Once
Yeoh is such a likable performer that it’s easy to forget how bitter and cruel her Evelyn Wang is, particularly to her daughter. The film’s conceit is that she is the worst possible version of herself, the result of every wrong choice in her life. But Yeoh manages to find the seed within that connects her to all those other, “better” Evelyns, and make her the film’s true heroine.

And the winner is… Mia Goth. In this lineup of great actresses and great characters, Goth’s Pearl is the one who entered the pantheon. Anthony Perkins wasn’t nominated for playing Norman Bates, either.