Oscars

The Rock as an Oscar nominee? It’s time to get used to the idea.

When Dwayne Johnson broke down in uncontrollable sobs during a 15-minute standing ovation at the Venice International Film Festival, it became more than an emotional premiere moment for the wrestler-turned-actor. It signaled the potential birth of one of the unlikeliest Oscar contenders in recent memory, as his transformative turn in Benny Safdie’s moving “The Smashing Machine” could reshape how Hollywood views one of its most bankable stars.

Johnson’s plays former amateur wrestler and MMA fighter Mark Kerr in A24’s emotionally devastating drama, representing the kind of career pivot that Academy voters have historically embraced, and one the cinematic world may be excited to watch unfold. With Safdie taking home Silver Lion for directing at Venice, the buzz is growing louder surrounding Johnson’s vulnerable turn as the troubled athlete. Now, bowing at the Toronto Film Festival, the 54-year-old performer stands at the precipice of a career-defining moment, and one he has sought for quite some time.

Comparisons to Mickey Rourke’s Oscar-nominated turn in Darren Aronofsky’s “The Wrestler” (2008) are inevitable and apt. Both films center on fighters grappling with physical deterioration and personal demons. Where Rourke drew from his boxing background, Johnson taps into something rawer and psychologically complex. Working with two-time Oscar winner Kazu Hiro (“Bombshell” and “Darkest Hour”), Johnson undergoes a physical transformation that erases any thought of a WWE star in costume. In fact, he could even position himself as this year’s Brendan Fraser, whose makeup-assisted turn in “The Whale” earned both acting and technical Oscars, likewise for an actor who was thought of as an unlikely awards contender.

Emily Blunt, an Oscar nominee for “Oppenheimer” (2023) delivers an effortless turn as Kerr’s girlfriend Dawn Staples, a woman battling her own addiction while desperately trying to support her partner as he aspires for greatness. Blunt’s presence elevates the film, providing Johnson with the kind of formidable acting partner that often strengthens awards-season narratives. “She’s one of my greatest inspirations,” Johnson tells Variety for an upcoming interview regarding Blunt, with whom he previously co-starred in “Jungle Cruise.”

We often forget about some of Hollywood’s grand traditions of A-list celebrities reinventing themselves as serious dramatic actors. Cher transitioned from hit singer and variety show host to an Oscar winner with “Moonstruck” (1987) after her first nom for “Silkwood” (1983). Stand-up comedian Mo’Nique stunned audiences, and voters, with her undeniable supporting actress run in “Precious” (2008); and Jonah Hill went from the foul-mouthed kid in “Superbad” (2007) to working with the likes of auteurs Bennett Miller and Martin Scorsese, who steered him to two noms for “Moneyball” (2010) and “The Wolf of Wall Street” (2013).

More recently, Ariana Grande scored a supporting actress nomination for “Wicked,” while Adam Sandler, once dismissed as a comedy box office star, is in the awards conversation for Noah Baumbach’s “Jay Kelly.” Johnson’s journey from WWE superstar to potential Academy Award nominee now looks like the next evolution in that narrative.

To put it simply: not only could Johnson get an Oscar nomination, he could also be the future best actor winner as well.

A24’s involvement provides confidence, given its track record with past unconventional best picture winners like “Moonlight” (2016) and “Everything Everywhere All at Once” (2022). But the indie powerhouse faces a unique challenge this year: balancing “The Smashing Machine” campaign with his his brother Josh Safdie’s upcoming “Marty Supreme,” starring Timothée Chalamet. We’ve seen siblings nominated before. The Redgrave sisters (Lynn and Vanessa) competed for best actress nominations in 1966 for “Georgy Girl” and “Morgan!”

However, no siblings have ever competed against each other in the directing category. Balancing the campaigns for both films without compromising either’s potential is a challenge A24 will need to navigate carefully throughout awards season

“The Smashing Machine” appears well-positioned for multiple noms beyond Johnson’s work. Hiro’s transformative makeup seems destined for recognition, particularly given the Academy’s recent appreciation for physical reinvention. The film’s technical craftsmanship — from cinematography (Maceo Bishop) to original score (Nala Sinephro) to Safdie’s direction, screenplay, editing and producing (looking to repeat Sean Baker’s four noms last year for “Anora” — for which he won all four).

Blunt could emerge as a strong supporting actress contender, in a category that hasn’t presented a standout frontrunner yet, and could pair nicely with Johnson’s big run. It also further bolsters the film’s profile across multiple categories.

The film also stars real-life fighters Ryan Bader, Bas Rutten and Oleksandr Usyk, which adds authenticity to the film’s tone.

Johnson’s candidacy represents a signal to Hollywood’s willingness to expand its definition of who belongs in the Oscar conversation. Just as the Academy has embraced streaming platforms and international cinema, Johnson’s recognition would show its openness to performers once confined to the blockbuster space.

Sean Durkin’s “The Iron Claw,” despite Zac Efron’s career-best work, was ignored by the Academy, showing the risks inherent in sports dramas. But “The Smashing Machine’s” acclaimed reception and A24’s savvy campaigning may set it on a different trajectory.

Will the Oscars smell what “The Rock” is cooking? Audiences will get their answer when “The Smashing Machine” hits theaters on Oct. 3.