The 79th British Academy Film Awards have arrived. As always, it's a highly competitive year–especially for the top prize, which pitches Paul Thomas Anderson's One Battle After Another against Benny Safdie's ping-pong epic Marty Supreme, Ryan Coogler's Oscars record-setter Sinners, Joachim Trier's brilliant Sentimental Value, and Chloé Zhao's Shakespearean tragedy-within-a-tragedy, Hamnet. It's anyone's game.
Things were heating up on the red carpet style stakes, too–especially when it came to the watches on display. Timothée Chalamet has established himself as an IYKYK horology geek over the past few years, but other nominees haven't gone down without a fight, displaying some extremely nice watches from the likes of Omega and TAG Heuer.
Not a one-off: Chalamet has worn the UJ-2 before, fitting his now well-established taste for left-field, collector-level watches over obvious status pieces. It’s a quietly cerebral choice — the horological equivalent of the off-beat, slightly outré screen presence he’s become known for.
Stormzy’s AP is all presence, like the man himself. Technically serious but designed to be seen, with the openworked dial putting the mechanics front and centre.
Mescal’s vintage Tank Basculante is a super-assured choice—elegant, niche, and very much in line with his preference for understatement over showmanship. The reversible case feels fitting for an actor who moves easily between stage intensity and screen subtlety. Also: Cartier + Mescal has proved a red carpet double-act as enduring as Burton and Taylor.
The Speedmaster is a classic actor’s choice–purposeful, unfussy and backed by real history... except in 18k "Moonshine Gold"–which suits Aaron Pierre’s assured presence. A classic tool watch with a starry twist.
The Ballon Bleu is Cartier at its most universally elegant–rounded case, softened lines and a dressy feel that works effortlessly at black tie events. A watch worthy of a winner.
The Aqua Terra sits in that sweet spot between dress watch and sports piece–pine green dial, strong everyday versatility, and just enough technical credibility to please the watch heads. It suits Hawke’s low-key presence perfectly.
The GOAT. DiCaprio has worn this Daytona before, and that familiarity only adds to the effect–a classic, proven watch on a perennial leading man. It’s Hollywood shorthand for enduring taste. Something in the old school mould.
Previously worn at the Golden Globes, Skarsgård’s Moonshine Gold Aqua Terra is a smart, slightly unexpected take on red-carpet gold–warm and refined, not flashy. The green dial and strap add just enough personality, echoing the grounded seriousness that runs through many of his best performances.
Dempsey leaned fully into his racing pedigree at the Baftas, wearing a Carrera Chronograph Tourbillon—a technical showpiece that balanced red-carpet polish with motorsport DNA. For the Charles Finch pre-BAFTA party he switched to a vintage Heuer Silverstone, a deep-cut archive pick that nodded directly to 1970s Formula 1 history.
Louis Vuitton’s modern Tambour is slimmer, cleaner and designed to be taken seriously by watch collectors as well as fashion audiences. On Miles Caton’s wrist it feels contemporary and slightly unexpected—a fashion-house watch that now sits firmly in proper horological territory.
The Santos-Dumont is one of Cartier’s purest dress watches–slim, elegant and rooted in early aviation history. On Tom Blyth it lands as a classic red-carpet move: grown-up and elegant.
Jonsson’s Cartier Vendome was one of the more daring watch choices on the carpet–a rare platinum piece shaped like a service bell, with only 50 made. Paired with a sharply styled tux, it showed individuality: less obvious than a classic Tank or Santos, and exactly the kind of left-field Cartier collectors love.
