Oscar voting starts Thursday and one performance that should not be overlooked is Mahershala Ali’s nuanced turn playing two identical characters in the moody and melancholic Apple TV Plus’s “Swan Song.”

Benjamin Cleary wrote and directed this taut, emotionally gripping sci-fi drama. Ali plays Cameron, an artist in the near future who has terminal cancer. He has kept it a secret from his loving wife (Naomie Harris) and young son Cory (Dax Rey.) Enter Dr. Jo Scott, played with chilling perfection by Glenn Close, who has the cure/answer, but not really. Dr. Scott can recreate Cameron’s body and brain and upload his memories, even the darkest, most troubling ones, buried deep in his subconscious into a new identical body named Jack (also played by Ali.) Cameron has a short time to live and a short time to give his life over to Jack, and Jack will only know he’s Jack and not Cameron for a brief time as well.

“Swan Song” could be complicated if not for the clear, understated and thrilling performance of Ali. He is consistently heartbreaking and luminous on screen, one of the most accomplished actors working today. Awkwafina also deserves a shout out as a fellow dying patient who turned her life over to a double. Awards tastemaker Colleen Camp is making sure that this film is being giving the respect it should, she recently hosted a Q & A moderated by Barry Jenkins with Ali and Harris, and she’s right once again. Ali’s internal struggle is what makes his powerhouse performance in “Swan Song” worthy of an Oscar nod.

Sundance: Oscar winner Emma Thompson (“Howard’s End”) has always been an uncommonly fine actress, whether she was the painfully restrained but deeply caring housemistress in “Remains of the Day” or the painfully restrained but deeply caring Elinor Dashwood in “Sense and Sensibility” (she also got an Oscar for writing the screenplay). You may know her as Nanny McPhee. or as the Baroness in “Cruella.”

Now she’s gone and done something quite extraordinary. At the age of 61, Thompson appears naked in more ways than one in Sophie Hyde’s “Good Luck to You, Leo Grande.” The movie is “written and created by” Katy Brand, who appeared in the “Nanny McPhee” sequel in 2010 and must be a friend of Thompson. (This movie has strange credits, by the way).

You’d almost think that “Leo Grande” is an adapted play. But it’s not. It’s an original, very original in fact, in its whole execution. I’m not sure how it will get away with an R rating, but who cares? This much is certain: Thompson will be heaped on with awards in 2023. So get ready.

Thompson plays “Nancy” (not her real name), a widow and retired school teacher who hires “Leo” (not his real name) for sexual instruction. They meet in a hotel. Leo is played Daryl McCormack, who looks a little goofy in real life but a hot hombre in the film. He’s going to help Nancy have her first orgasm ever and enjoy her body for the first time in her life.

The conversation between Nancy and Leo is frank and modern. And as Nancy peels off clothes, she also peels herself off like an onion. In doing so, she also seeks to find Leo’s layers, so when they’re not naked and having sex (a glut of which comes at the end of the film) they are finding out important stuff about each other.

Thompson is brave– not because she’s fully unclothed without help from the makeup or props department. Her courage is in allowing herself, an Oscar and Emmy winner with lots of other accolades, explore an intimate world we don’t see in films nowadays. She was one of Mike Nichols’ favorite actresses, and you can see why. She’s willing to plumb depths of her soul.

Other reviews I’ve glanced at talk about this movie being “sex positive” which is lingo for 2022. Brand reaches some nice conclusions and resolutions, the kind you won’t see on Lifetime or Hallmark. “Leo Grande” may shake up the landscape when it finally gets released. In the old days Miramax would have picked this up and gotten Oscar nods for everyone involved. LionsGate has it in the UK. I’m curious to see what happens in the U.S.

PS This is a total aside, but Sundance is brimming with terrific performances by actresses directed by women director. Case in point: Elizabeth Banks in “Call Jane.” More on that in my next piece.