The Unseen Art: Why Ballerina's Oscar-Worthy Stunts Arrive Just Before Their Time

If anyone knows how to take a fall, it’s Cara Marie Chooljian. A veteran stunt performer with credits spanning from the mind-bending action of Everything Everywhere All at Once to the bone-crunching choreography of the latest John Wick universe installment, Ballerina, Chooljian is intimately familiar with the physical demands and calculated risks that define her profession. She is accustomed to enduring impacts, executing complex sequences, and always, always getting back up. Yet, there’s one particular setback she finds herself grappling with – a blow delivered not by a choreographed fight scene, but by the calendar itself. Despite her exceptional work in Ballerina, she won't be taking home an Oscar for it, at least not yet.

This isn't a reflection of her skill, dedication, or the sheer artistry involved in the film's action sequences. Rather, it's a matter of timing. Just this past April, the Academy of Motion Picture Arts and Sciences made a landmark announcement: a new Oscar category specifically dedicated to recognizing the intricate and essential craft of stunt design. This was news that sent ripples of excitement through the stunt community, a long-awaited acknowledgment of their vital contribution to cinema. However, the inaugural award for Stunt Design won't be presented until the 100th Academy Awards ceremony in 2027. Ballerina, set to release this Friday, falls outside this eligibility window, a cruel twist of fate for a film tailor-made to showcase the very skills the Academy is finally choosing to honor.

“Kill me,” Chooljian quipped when asked about the Academy’s announcement and the unfortunate timing relative to her latest project. Her reaction, though delivered with humor, underscores a shared sentiment within the stunt community: immense joy for the future recognition, tinged with the bittersweet reality that some of their most groundbreaking recent work will miss the opportunity for this historic first award. “I was like, why aren’t we pushing it” back? she added, highlighting the almost painful proximity of the film's release to the award's eligibility start date.

The Invisible Architects of Action: Stunt Work's Long History in Film

Stunt work is not a modern invention; it has been woven into the fabric of filmmaking since the earliest days of the medium. From the silent era daredevils like Buster Keaton, who performed his own death-defying gags, to the elaborate car chases and fight sequences of contemporary blockbusters, stunt performers have consistently pushed the boundaries of physical possibility on screen. Their role emerged out of necessity: protecting valuable actors from injury while delivering the thrilling visuals audiences craved. In an industry where a lead actor's health can represent millions of dollars in investment, having skilled professionals willing to execute dangerous feats became indispensable.

While many prominent actors, including Keanu Reeves in the John Wick series, Tom Cruise in the Mission: Impossible franchise, and Ana de Armas in Ballerina, are known for performing a significant portion of their own stunts, the most perilous and technically demanding sequences often require the expertise of dedicated stunt doubles and performers. These individuals are credited for their work, their names appearing fleetingly on screen as the credits roll. Yet, by the very nature of their craft, they are designed to be invisible, seamlessly blending into the performance of the main actor. If the audience can tell it's a stunt double, the illusion is broken, and the performer, in a sense, hasn't done their job perfectly. This inherent need for invisibility has, paradoxically, contributed to their lack of public and industry recognition at the highest levels.

For decades, the contribution of stunt professionals was largely confined to industry appreciation and specialized awards within their own community. While other technical and artistic crafts – from visual effects and costume design to editing and sound mixing – found their place on the Oscar ballot, stunts remained conspicuously absent. This wasn't for lack of trying on the part of the stunt community.

The Decades-Long Campaign for Academy Recognition

The push for an Academy Award for stunt work is not a recent phenomenon. It's a campaign that stretches back over 30 years, marked by persistent lobbying, passionate arguments, and repeated disappointments. Veteran stunt performer Jack Gill has been a vocal advocate for Academy recognition since as early as 1991. He garnered support from influential filmmakers like Steven Spielberg, who understood the critical role stunts played in bringing their cinematic visions to life. Despite this backing, the Academy consistently declined to create a category.

Arguments against establishing a stunt Oscar varied over the years. Some claimed there weren't enough films released annually with significant stunt work to justify a competitive category. Others questioned whether stunt work constituted an art form or a science on par with directing, writing, or cinematography. There was a perception, perhaps, that it was purely physical execution rather than creative design and planning. As Gill told The Los Angeles Times in 2015, after years of advocacy, “Every year I think, this is going to be the year,” only to see the Academy pass over the proposal once again.

However, the landscape of action cinema began to shift dramatically in the 2000s and 2010s. Films like the Fast & Furious franchise, the rebooted Mission: Impossible series, and especially the emergence of the John Wick universe elevated stunt work from mere spectacle to a central narrative and aesthetic element. Movies like Furious 7, Mad Max: Fury Road, and the John Wick films showcased action sequences of such complexity, creativity, and visceral impact that it became increasingly difficult to argue they were not essential to the film's success or that they lacked artistic merit. The stunts weren't just filler; they *were* the movie. This evolution in filmmaking put renewed pressure on the Academy to acknowledge the craft behind these breathtaking sequences.

Key figures from this new wave of action cinema became prominent voices in the campaign. David Leitch, a former stunt performer himself who transitioned into directing highly stylized action films like Atomic Blonde and Deadpool, and his John Wick cocreator Chad Stahelski, also a former stunt coordinator, were at the forefront of the renewed push. They, along with countless others in the stunt community, continued to advocate tirelessly, highlighting the planning, choreography, safety protocols, and creative problem-solving involved in designing and executing complex action set pieces.

When the Academy finally announced the creation of the stunt design category in April 2025, it was met with widespread celebration. It marked the culmination of decades of effort and a significant step towards recognizing the contributions of a community that has long been the backbone of action cinema. Leitch himself acknowledged the collective effort, stating in a statement at the time, “[Fall Guy stunt designer] Chris O’Hara and I have spent years working to bring this moment to life, standing on the shoulders of the stunt professionals who’ve fought tirelessly for recognition over the decades.”

Ballerina: A Prime Example, Just Out of Reach

Given its lineage as a spin-off of the acclaimed John Wick franchise, Ballerina is inherently designed around high-octane, meticulously choreographed action. The film follows Ana de Armas as an assassin trained in the same rigorous ballet-assassin school as John Wick himself. This premise alone promises a unique blend of graceful movement and brutal efficiency, a perfect canvas for innovative stunt design.

Cara Marie Chooljian's work in the film, alongside de Armas, exemplifies the kind of complex stunt performance and coordination that the new Oscar category aims to honor. The article highlights that the film requires fighting in “every possible scenario with every possible weapon” – from mundane objects like plates to more conventional firearms and even ice skates. This suggests a diverse range of action styles, demanding versatility and creativity from the stunt team. Shoot-outs in confined spaces like clubs and intense hand-to-hand combat sequences are staples of the Wick universe, and Ballerina appears set to continue this tradition, pushing the boundaries of practical action filmmaking.

Chooljian notes that Ana de Armas was deeply involved in the stunt work, stating that she “did quite a bit of her own stunts and smashed it.” This collaboration between actor and stunt professional is increasingly common in action films and further blurs the lines, highlighting the need to recognize the *design* and *choreography* that makes these sequences possible, regardless of who is executing the final move. The Wick films are renowned for their commitment to practical effects and long takes, allowing the audience to fully appreciate the skill and athleticism on display. This approach makes the stunt work not just impressive, but integral to the film's immersive quality and narrative flow. Without these scenes, executed with precision and impact, the story of a vengeful assassin simply wouldn't land with the same force. The action is the language of the film.

The quality of the action in Ballerina, based on the descriptions and the franchise's reputation, sounds undeniably Oscar-worthy. It represents the pinnacle of modern action choreography and performance. Yet, because the film is released in June 2025, it falls into the eligibility window for the 98th Academy Awards (covering films released in 2025), while the Stunt Design award doesn't debut until the 100th ceremony (covering films released in 2027). This two-year gap means that Ballerina, a film that could have been a strong contender and a perfect showcase for the new category's importance, will not have the chance to compete for this specific honor.

It's worth noting that Ballerina isn't the only film pushing the boundaries of stunt work in this period. It's arriving mere weeks after Mission: Impossible – The Final Reckoning, another film featuring its star, Tom Cruise, performing incredibly dangerous, highly publicized stunts. The existence of multiple films with such high-caliber action sequences only strengthens the argument for the necessity of the new category. Imagine a year where films like Ballerina and the latest Mission: Impossible film could compete head-to-head for a Stunt Design Oscar – it would be a powerful demonstration of the depth and competitiveness of the field, proving why this recognition is long overdue.

Beyond Execution: Understanding Stunt Design

The Academy's decision to name the category “Stunt Design” rather than simply “Stunt Performance” is significant. It acknowledges that the craft involves far more than just the physical execution of a dangerous act. As Cara Marie Chooljian points out, stunt performers and coordinators are often tasked with creating the action sequences from the ground up. She describes receiving scripts where the direction might simply be “fight ensues.” It is then the job of the stunt team to conceptualize, choreograph, rehearse, and safely execute that fight. This involves understanding narrative context, character motivation, physical capabilities, and the logistical challenges of filming complex action.

Stunt design encompasses:

• **Choreography:** Planning the sequence of movements in fights, chases, and falls.
• **Safety Coordination:** Developing and implementing protocols to minimize risk for performers and crew.
• **Logistics:** Figuring out how to film complex sequences involving vehicles, heights, fire, or other hazards.
• **Collaboration:** Working closely with directors, cinematographers, actors, and other departments to integrate the action seamlessly into the film.
• **Innovation:** Creating new and exciting ways to depict action that haven't been seen before.

This creative and technical planning phase is a crucial part of filmmaking, requiring expertise that goes beyond mere athleticism. It is, in essence, a form of visual storytelling, using physical action to convey plot, character, and tone. The new category title correctly identifies this broader scope of the profession.

Chooljian's comment about stunt doubles being “supposed to be hidden” highlights the unique challenge of their recognition. Their success is often measured by their invisibility. But this invisibility shouldn't equate to a lack of acknowledgment for the skill, creativity, and bravery required. The Stunt Design Oscar aims to pull back that curtain slightly, recognizing the architects behind the action, even if the performers themselves remain seamlessly integrated into the final product.

The Future is Bright, Even If the Present is Bittersweet

For films like Ballerina, the timing is undoubtedly frustrating. It's a film that embodies the very excellence the Academy is finally choosing to celebrate. Its intricate fight choreography, daring falls, and visceral action sequences are a testament to the skill of its stunt team and could easily have been strong contenders for the inaugural Stunt Design award. The fact that they won't have that opportunity is a disappointment for those involved and for fans of action cinema who appreciate the craft.

However, the establishment of the category itself is a momentous victory. It signifies a fundamental shift in how the Academy views stunt work – recognizing it not just as a necessary evil for safety or a simple physical task, but as a legitimate and essential cinematic art form deserving of the industry's highest honor. This recognition will likely have far-reaching effects. It could encourage more filmmakers to invest in innovative stunt design, provide greater career opportunities and visibility for stunt professionals, and educate the public about the complex work that goes into creating the action they see on screen.

The path to the first Stunt Design Oscar in 2027 is now open. While Ballerina won't be among the first nominees, its existence and the quality of its action serve as a powerful reminder of the caliber of work that has long been present in cinema, waiting for its moment in the spotlight. The bittersweet irony of its timing doesn't diminish the film's achievements or the significance of the Academy's long-awaited decision. It simply means that the pioneers who fought for this recognition, and the films like Ballerina that showcase their incredible talent, will be remembered as the catalysts for a new era of appreciation for the unseen art of stunt design.

The wait until 2027 might feel long, but for a community that has waited decades, it is a relatively short final stretch towards long-overdue recognition. When that first Oscar for Stunt Design is handed out, it will be a victory not just for the winners of that year, but for every stunt performer and coordinator who has ever taken a fall, thrown a punch, or designed a sequence that made audiences gasp, including those who poured their skill and bravery into films like Ballerina, arriving just ahead of the curve.