“The Fabelmans” is alive.

Steven Spielberg’s gorgeous film jumped a whopping 96% last night at the box office. The reason: 7 Oscar nominations.

For the Tuesday night box office, following the Oscar reveals in the morning, that was the biggest increase of any movie in the awards race. “The Fabelmans” came within 4% of doubling its audience from the previous night.

The fact is, “The Fabelmans” is more like a Best Picture than any movie in the running this year. Academy members may finally be catching up to it. Michelle Williams and Judd Hirsch give impeccable performances. I disagree with anyone who says Michelle should have been in the supporting category. She is the lead in this movie. The story is about her character’s frustrations and transformation. And Hirsch’s appearance in the film is pivotal. It’s also incendiary.

We always used to say that the Best Picture is the one with heart and soul, and the Big Picture. “The Fabelmans” is about family as a living organism, and now it repairs itself and keeps moving forward. The other films this year are all very good. I know there’s a push for “Everything Everywhere All at Once.” It’s very innovative except that no one really can figure out what’s going on. The images are sensational. The actors are so much fun, but it’s an explosive cartoon. It’s not a drama for the ages.

So we’ll see what happens when ballots go out for final voting. In the meantime, go see “The Fabelmans” on a big screen. Pay attention to the tablecloth scenes. I think they’re key to the whole thing, more important than hot dog fingers. (Those fingers are not Hebrew National. You can tell by the color!)

Nicole Holofcener is back. Thank god. Long ago she inherited the Woody Allen gene and mixed with Nora Ephron and Nancy Meyers. But Holofcener is her own person, and “You Hurt My Feelings,” her latest gem, is like a great New Yorker short story on film. It’s so good that I could actually see it on stage after its theatrical run.

It doesn’t hurt that Julia Louis Dreyfus is her star here, playing Beth, a mildly successful and neurotic Upper West Side writer. Beth is in a long marriage with Don, a shrink (Tobias Menzies), and they have one 23 year old son (Owen Teague). Their closest friends are Beth’s interior decorator sister (Michaela Watkins) and her actor husband (Arian Moayed). They are all living a very well constructed, much traveled middle class journey, it’s like an old dream come true.

But there’s so much more to the story here, and the theme are relatable to everyone. Packed into a concise hour and a half, all of these people’s issues have to do with our own insecurities and trust issues, the doubts that gnaw at us about our own lives and what they mean going forward. Even though the actors’ ages are all over the map, the characters are supposed to be about 50-55. This is the their group mid life crisis, and even though it looks like it could be explosive, Holofcener’s ear is acute and her sense of humor so rye, that the subtleties of the situations are a long math problem on a blackboard that has an answer, only you can’t see it until the end.

Holofcener’s ear is precise, just as in her previous films like the terrific “Enough Said,” “Please Give,” and earlier hits Lovely and Amazing, and Walking and Talking. Let’s not forget the tremendous screenplay for “Can You Forgive Me?” She gets certain nuances like Laurie Colwin or Ann Beattie. You savor them as they unfurl.

Julia Louis Dreyfus, who we know so well from “Seinfeld” and “Veep,” is so good all the time, but here she’s richer and even more dimensional. Her eyes have taken on a wise gaze. I always like Michaela Watkins and her she doesn’t fail to make her sounding board for Beth more than than just that. Then men are very good, too. Moayed’s actor has nice little insider digs, and Menzies — who we knew as Prince Philip in “The Crown” — gets to have some extra fun with patients played by real life married couple David Cross and Amber Tamblyn.

I stayed up late last night to watch “You Hurt My Feelings” after going through torture with Jonathan Majors in a another Sundance film, “Magazine Dreams.” I wanted to make sure I didn’t have nightmares. Suffice to say, Holofcener’s film did the trick, I slept better than I have in weeks. My soul felt nourished.