Best Motion Picture of the Year

“Oppenheimer” (Universal Pictures)

Directed by Christopher Nolan
Produced by Emma Thomas, Charles Roven, and Christopher Nolan

—
“American Fiction” (Amazon MGM Studios + Orion Pictures)
“Anatomy of a Fall” (NEON)
“Barbie” (Warner Bros. Pictures)
“The Holdovers” (Focus Features)
“Killers of the Flower Moon” (Paramount Pictures + Apple Original Films)
“Maestro” (Netflix)
“Past Lives” (A24)
“Poor Things” (Searchlight Pictures)
“The Zone of Interest” (A24)

Early in the season, I would have said it was a three-headed race between “Oppenheimer,” “Barbie,” and “Killers of the Flower Moon,” but the award season, in general, had other plans. “Oppenheimer” went ahead and won every precursor and left the other two in the dust. Plus, there’s not a ton of support for either of the latter films in any category, with “Barbie” poised to win only one (or two) awards and “Killers of the Flower Moon” looking to be lucky even to get one. With “Oppenheimer” set to win several technical awards and Nolan remaining the shoo-in for Best Directing, a category often with Best Picture correlation, you’d be hard-pressed to pick anything else to win.

Best Performance by an Actor in a Leading Role

Cillian Murphy
“Oppenheimer” (Universal Pictures)

Directed by Christopher Nolan
Produced by Emma Thomas, Charles Roven, and Christopher Nolan

—
Bradley Cooper – “Maestro” (Netflix)
Paul Giamatti – “The Holdovers” (Focus Features)
Colman Domingo – “Rustin” (Netflix)
Jeffrey Wright – “American Fiction” (Amazon MGM Studios + Orion Pictures)

The Leading categories will be some of the most exciting of the night because both are unpredictable. Paul Giamatti started the season by winning a few awards for his performance in “The Holdovers,” but then Cillian Murphy returned with some wins of his own. It would make sense for Leading Actor to correlate with Best Picture. I find Murphy’s performance the most memorable one.

Best Performance by an Actress in a Leading Role

Lily Gladstone
“Killers of the Flower Moon”
(Paramount Pictures + Apple Original Films)

Directed by Martin Scorsese
Produced by Martin Scorsese, Dan Friedkin, Bradley Thomas, and Daniel Lupi

—
Annette Bening – “Nyad” (Netflix)
Sandra Hüller – “Anatomy of a Fall” (NEON)
Carey Mulligan – “Maestro” (Netflix)
Emma Stone – “Poor Things” (Searchlight Pictures)

Emma Stone ultimately gives herself over to the role of Bella Baxter in “Poor Things,” playing the nubile woman experiencing the world for the first time. She takes risks and displays a side of herself never before seen. Lily Gladstone provides the opposite. Her mild performance allows for more acting with her eyes. A cold stare or a subtle laugh brings an intensity that not all actresses could bring. She’s also more of a newcomer than Stone and shows a veteran-level prowess that makes it impossible not to be engaged by her character. Add to that the politics, as she would become the first woman of Native American descent to win the award, and it’s hard not to root for her. With “Killers of the Flower Moon” set to lose in every other category, it would be nice for them to show some love for the film here and make history. Plus, Stone already has an Oscar for her role in “La La Land.”

Best Performance by an actor in a Supporting Role

Robert Downey Jr.
“Oppenheimer” (Universal Pictures)

Directed by Christopher Nolan
Produced by Emma Thomas, Charles Roven, and Christopher Nolan

—
Sterling K. Brown – “American Fiction” (Amazon MGM Studios + Orion Pictures)
Robert De Niro – “Killers of the Flower Moon” (Paramount Pictures + Apple Original Films)
Ryan Gosling – “Barbie” (Warner Bros. Pictures)
Mark Ruffalo – “Poor Things” (Searchlight Pictures)

It is hard to see anyone winning the Best Supporting Actor award other than Robert Downey Jr. He’s had a complete sweep this season, and it’s hard to pinpoint a strong enough contender to unseat him. Ryan Gosling would be my dart throw, but he didn’t even win for his much better performance in “La La Land,” so I don’t see him winning here. Downey’s win will not only cap off an excellent performance but a career where he’s shown his versatility, having the ability to jump from a decade-long role as Tony Stark to a more severe figure like Rear Admiral Lewis Strauss.

Best Performance by an Actress in a Supporting Role

Da’Vine Joy Randolph
“The Holdovers” (Focus Features)

Directed by Alexander Payne
Produced by Mark Johnson, Bill Block, and David Hemingson

—
Emily Blunt – “Oppenheimer” (Universal Pictures)
Danielle Brooks – “The Color Purple” (Warner Bros. Pictures)
America Ferrera – “Barbie” (Warner Bros. Pictures)
Jodie Foster – “Nyad” (Netflix)

Much like Ke Huy Quan’s sweep of the awards season, and eventually the Oscars, last year, Da’Vine Joy Randolph succeeds in following in the same footsteps. She hasn’t lost significantly this season and has graciously accepted victory in most cases. If there is one guaranteed win at the Oscars, Randolph is the best bet. Emily Blunt’s performance in “Oppenheimer” was more of my speed, but I’m not one to shy away from the consensus.

BEST ANIMATED FEATURE

“Spider-Man: Across the Spider-Verse”
(Sony Pictures Animation)

Directed by Joaquim Dos Santos, Kemp Powers, and Justin K. Thompson
Produced by Chris Miller, Phil Lord, Amy Pascal, Avi Arad, and Christina Steinberg

—
“The Boy and the Heron” (GKIDS + Studio Ghibli)
“Elemental” (Pixar Animation + Walt Disney Pictures)
“Nimona” (Netflix)
“Robot Dreams” (NEON)

My head and heart want a win for “Spider-Man: Across the Spider-Verse” in Best Animated Feature; however, it is hard to underestimate Hayao Miyazaki and his latest film, “The Boy and the Heron.” It’s relatively rare for the Academy to award a sequel in this category, with “Toy Story 3” and “Toy Story 4” remaining some of the only examples. However, “Across the Spider-Verse” takes some chances and makes some leaps that the first film does not, so it could easily be the winner. It cleaned up during the Annie Awards and is more straightforward and understandable than “The Boy and the Heron,” something I imagine will play into the Academy’s decision.

Best Achievement in Cinematography

“Oppenheimer” (Universal Pictures)

Cinematography by Hoyte van Hoytema

Directed by Christopher Nolan
Produced by Emma Thomas, Charles Roven, and Christopher Nolan

—
“El Conde” – Edward Lachman (Netflix)
“Killers of the Flower Moon” – Rodrigo Prieto (Paramount Pictures + Apple Original Films)
“Maestro” – Matthew Libatique (Netflix)
“Poor Things” – Robbie Ryan (Searchlight Pictures)

When “Oppenheimer” was left off the Best Visual Effects shortlist, I felt it would eventually land as the frontrunner for Best Cinematography. Now, I think that what was interpreted as the cinematographer’s choices were primarily visual effects. Regardless, the film’s visual style helps elevate the movie as a whole and does so satisfyingly and uniquely.

Best Achievement in Costume Design

“Poor Things” (Searchlight Pictures)

Costume Design by Holly Waddington

Directed by Yorgos Lanthimos
Produced by Yorgos Lanthimos, Emma Stone, Ed Guiney, and Andrew Lowe

—
“Barbie” – Jacqueline Durran (Warner Bros. Pictures)
“Killers of the Flower Moon” – Jacqueline West (Paramount Pictures + Apple Original Films)
“Napoleon” – Janty Yates and Dave Crossman (Columbia Pictures + Apple Original Films)
“Oppenheimer” – Ellen Mirojnick (Universal Pictures)

Regarding Costume Design and Production Design, these two awards are tailor-made for “Barbie” or “Poor Things.” Chances are one of those films will end up winning both categories, but to hedge my bets, I’m giving one to each; despite prognosticators suggesting “Barbie” will likely only win Original Song, I’m predicting some upsets. However, I’m picking “Poor Things” to win in Costume Design. It might not have the sheer volume of costumes “Barbie” has and may not be as instantly iconic, but it has a unique style that sets it apart.

Best Achievement in Directing

Christopher Nolan
“Oppenheimer” (Universal Pictures)

Produced by Emma Thomas, Charles Roven, and Christopher Nolan

—
Jonathan Glazer – “The Zone Of Interest” (A24)
Yorgos Lanthimos – “Poor Things” (Searchlight Pictures)
Martin Scorsese – “Killers of the Flower Moon” (Paramount Pictures + Apple Original Films)
Justine Triet – “Anatomy of a Fall” (NEON)

Much like the Best Picture category, I don’t see a world where Christopher Nolan doesn’t finally win his first Oscar. He’s swept the awards season this year, and no competitor in this category has won anything. If Greta Gerwig were nominated, I might have a slight worry, but even then, Nolan has this one locked up, and rightfully so.

BEST DOCUMENTARY FEATURE

“20 Days in Mariupol” (PBS Distribution)

Directed by Mstyslav Chernov
Produced by Raney Aronson, Mstyslav Chernov, Michelle Mizner, and Derl McCrudden

—
“Bobi Wine: The People’s President” (National Geographic)
“The Eternal Memory” (MTV Documentary Films)
“Four Daughters” (Kino Lorber)
“To Kill A Tiger” (Notice Pictures)

The barometer I use when judging the Best Documentary Feature category is this: which film takes you someplace that no other movie could or captures something that somebody could rarely replicate? There were a few films this year that did that. “To Kill A Tiger” impressed me by taking us into the life of a young girl who was gang raped in India and her father, who brings the rare chance to convince the boys who did it, despite his village pressuring him against it. “Bobi Wine: The People’s President” takes you into Uganda, where musician Bobi Wine is running for president in a democracy where a dictator runs. However, the film that stood out most to me was “20 Days In Mariupol,” where the filmmakers document the beginning of the Russian invasion of Ukraine. It’s films like that that can change people’s outlooks, showing firsthand what Vladimir Putin is having his armies do, despite speaking the opposite to the media. The filmmakers there put their lives on the line every time they hold up a camera, and you have to think they deserve recognition.

Best Documentary Short Subject

“Nǎi Nai & Wài Pó” (Walt Disney Pictures)

Directed by Sean Wang
Produced by Sam A. Davis and Malcolm Pullinger

—
“The ABCs of Book Banning” – Sheila Nevins and Trish Adlesic (MTV Documentary Films)
“The Barber of Little Rock” – John Hoffman and Christine Turner (Story Syndicate)
“Island In Between” – S. Leo Chiang and Jean Tsien (The New York Times)
“The Last Repair Shop” – Ben Proudfoot and Kris Bowers (Searchlight Pictures)

Initially, I believed that either “The ABCs of Book Banning” or “The Last Repair Shop” would win Best Documentary Short Subject. They are both well-done shorts, one showing children reacting to the books currently banned in certain schools across the country and the other showing a group of repair people in one of the last instrument repair shops in Los Angeles. They both tell excellent stories in exciting ways. However, something about “Nǎi Nai & Wài Pó” stood out to me. Sure, it’s about a young man visiting his two grandmas living together. However, the intimate moments mixed with some humorous ones make the film much more memorable in my eyes. The other two documentaries are stiff, and I wonder if the Academy will latch on to these grandmas as much as I did.

Best Achievement in Film Editing

“Oppenheimer” (Universal Pictures)

Film Editing by Jennifer Lame

Directed by Christopher Nolan
Produced by Emma Thomas, Charles Roven, and Christopher Nolan

—
“Anatomy of a Fall” – Laurent Sénéchal (NEON)
“The Holdovers” – Kevin Tent (Focus Features)
“Killers of the Flower Moon” – Thelma Schoonmaker (Paramount Pictures + Apple Original Films)
“Poor Things” – Yorgos Mavropsaridis (Searchlight Pictures)

In another sweep of the awards season, Jennifer Lame has rarely lost in the category of Best Film Editing for her work on “Oppenheimer.” The film’s intense moments are all thanks to her work. In a distant second place, I would throw in Laurent Sénéchal for “Anatomy Of A Fall,” because to create intensity out of a domestic dispute and courtroom drama is no small feat either.

BEST INTERNATIONAL FEATURE FILM

“The Zone Of Interest” | United Kingdom (A24)

Directed by Jonathan Glazer
Produced by James Wilson and Ewa Puszczynska

—
“Io Capitano” (Italy) (Cohen Media Group)
“Perfect Days” (Japan) (MUBI)
“Society of the Snow” (Spain) (Netflix)
“The Teachers’ Lounge” (Germany) (Sony Pictures Classics)

Nothing in this category can beat “The Zone Of Interest.” It was nominated for Best Picture, among others, and became one of my favorite films of the year. Had “Anatomy Of A Fall” gotten a nomination here, we’d be debating which one would win, but since it stands alone, this is one of the most substantial locks you could get.

Best Achievement in Makeup and Hairstyling

“Maestro” (Netflix)

Makeup and Hairstyling by Kazu Hiro, Kay Georgiou and Lori McCoy-Bell

Directed by Bradley Cooper
Produced by

—
“Golda” – Karen Hartley Thomas, Suzi Battersby and Ashra Kelly-Blue (Bleecker Street)
“Oppenheimer” – Luisa Abel (Universal Pictures)
“Poor Things” – Nadia Stacey, Mark Coulier and Josh Weston (Searchlight Pictures)
“Society of the Snow” – Ana López-Puigcerver, David Martí and Montse Ribé (Netflix)

Since Bradley Cooper or his film “Maestro” will likely not win in almost any category, I hope it at least wins Best Makeup and Hairstyling because it does deserve some recognition. Transforming Cooper into the iconic Leonard Bernstein seamlessly seems like no small feat. There is never a moment in the film where you question the hair or makeup or see anything behind the curtain. It all feels so natural. “Poor Things” would be the only film that could unseat “Maestro,” which takes the opposite approach and delivers makeup to your face, from the deformed face of Willem Dafoe’s character to the ever-changing palette on Emma Stone’s face. We’ll see if the Academy feels like rewarding “Maestro” at all or not.

Best Achievement in Music Written for Motion Pictures (ORIGINAL SCORE)

“Oppenheimer” (Universal Pictures)

Composed by Ludwig Göransson

Directed by Christopher Nolan
Produced by Emma Thomas, Charles Roven, and Christopher Nolan

—
“American Fiction” – Laura Karpman (Amazon MGM Studios + Orion Pictures)
“Indiana Jones and the Dial of Destiny” – John Williams (Walt Disney Pictures)
“Killers of the Flower Moon” – Robbie Robertson (Paramount Pictures + Apple Original Films)
“Poor Things” – Jerskin Fendrix (Searchlight Pictures)

Ludwig Göransson delivers one of the most memorable scores of the year. The first time I saw “Oppenheimer” was in an IMAX theater where, at times, his score reverberated through the seats and shook you to your core. What other film score can you say that about in this category? On sheer ingenuity, I would give an honorary mention to “Poor Things,” which also became an instant classic with its odd and whimsical strings that fit the film so perfectly. However, I don’t see anything beating out “Oppenheimer.”

Best Achievement in Music Written for Motion Pictures (ORIGINAL SONG)

“What Was I Made For?” from “Barbie”
(Warner Bros. Pictures)

Music and Lyric by Billie Eilish and Finneas O’Connell
Performed by Billie Eilish

Directed by Greta Gerwig
Produced by David Heyman, Margot Robbie, Tom Ackerley, and Robbie Brenner

—
“It Never Went Away” from “American Symphony” (Netflix)
“I’m Just Ken” from “Barbie” (Warner Bros. Pictures)
“The Fire Inside” from “Flamin’ Hot”
“Wahzhazhe (A Song For My People)” from “Killers of the Flower Moon” (Paramount Pictures + Apple Original Films)

The Best Original Song winner will be from “Barbie,” there is no doubt about that. But picking the right one is not an easy feat. Initially, “I’m Just Ken” was gaining some traction by winning a few early awards, but since then, “What Was I Made For?” steamed forward, winning plenty as well, including Billie Eilish and her brother Finneas taking home a Grammy for their efforts. Their song struck me as more thoughtfully written and able to stand on its own. I will listen to “What Was I Made For?” in years to come without watching the movie, while “I’m Just Ken” is stuck to the movie it’s in. Billie’s song brings me to tears with its place in “Barbie,” and that power puts it over the edge for me.

Best Achievement in Production Design

“Barbie” (Warner Bros. Pictures)

Production Design by Sarah Greenwood | Set Decorating by Katie Spencer

Directed by Greta Gerwig
Produced by David Heyman, Margot Robbie, Tom Ackerley, and Robbie Brenner

—
“Killers of the Flower Moon” (Paramount Pictures + Apple Original Films)
“Napoleon” (Columbia Pictures + Apple Original Films)
“Oppenheimer” (Universal Pictures)
“Poor Things” (Searchlight Pictures)

As I mentioned in Costume Design, I’m hedging my bets between “Poor Things” and “Barbie” in these categories. After seeing “Barbie” for the first time, I immediately proclaimed it had Best Production Design in the bag. Bringing these toys and their surrounding worlds to life in such a believable and lived-in way is no small feat. Yes, “Poor Things” creates a world all of its own, but I can’t help but feel “Barbie” takes more enormous leaps and nails them in a way that no film ever has. I’m crossing my fingers for that to translate into a win.

Best Animated Short Film

“Letter to a Pig” (Miyu Productions)

Directed by Tal Kantor
Produced by Emmanuel-Alain Raynal, Pierre Baussaron, and Amit Russell Gicelter

—
“Ninety-Five Senses” (MAST Salt Lake Film Society)
“Our Uniform” (Yegane Moghaddam)
“Pachyderm” (Miyu Productions)
“War Is Over! Inspired by the Music of John & Yoko” (Electroleague)

“War Is Over! Inspired by the Music of John & Yoko” was my favorite animated short film, with its message on the futility of war. It was set during WWI when two opposing soldiers traded chess moves using a carrier pigeon. The animation is that of a video game, and it just landed with me. However, putting my thoughts aside, “Letter To A Pig” feels like the short to strike the more considerable nerve in Academy viewers. The intense brush strokes and chalky nature of the animation evoke more emotion. And centering on the retelling of a Holocaust survivor is bound to elevate it as necessary.

Best Live Action Short Film

“The Wonderful Story of Henry Sugar” (Netflix)

Directed by Wes Anderson
Produced by

—
“The After” (Netflix)
“Invincible” (Télescope Films)
“Knight Of Fortune” (Jalabert Production)
“Red, White And Blue” (Majic Ink Productions)

Is Wes Anderson about to win his first Academy Award? And for his short film work, of all things? Part of me wonders if the Academy will push against awarding him for “The Wonderful Story of Henry Sugar” because he brings an unfair advantage with his high-profile reputation. But then I quit overthinking it and imagined they’d take the work for what it was and see it was miles ahead of its competition. “Knight Of Fortune” blended humor and the pain of loss so well that I could see some voters latching on to it. At the same time, “Red, White and Blue” delivered such a timely message in such a jaw-dropping way that I also wouldn’t be surprised if the Academy went contrarian and awarded it instead of Wes.

Best Sound

“Oppenheimer” (Universal Pictures)

Sound Design by Willie Burton, Richard King, Gary A. Rizzo and Kevin O’Connell

Directed by Christopher Nolan
Produced by Emma Thomas, Charles Roven, and Christopher Nolan

—
“The Creator” (20th Century Studios)
“Maestro” (Netflix)
“Mission: Impossible – Dead Reckoning Part One” (Paramount Pictures)
“The Zone Of Interest” (A24)

Imagine concluding a film and thinking, “wow, that is going to win Best Sound, for sure.” After seeing “Oppenheimer,” that was my thought because its use, and sometimes lack thereof, evoked such an emotion in the viewer effortlessly. There’s a moment toward the film’s end, after the bomb gets dropped, when the lead faces a crowd of admirers cheering him on, and the sound dips out, emphasizing the turmoil the main character is processing, and it lands too effectively; you feel the same crisis in yourself. The pick I want to win is “The Zone Of Interest,” if it were to win, I would be thrilled because its use of sound is integral to the film’s power. The distant sounds over the wall of a concentration camp land are so powerful and lead to moments of listening hard to hear precisely what is happening. I’ve never wanted to hear a film more than in this film.

Best Achievement in Visual Effects

“Godzilla Minus One” (Toho International)

Visual Effects by Takashi Yamazaki, Kiyoko Shibuya, Masaki Takahashi and Tatsuji Nojima

Directed by Takashi Yamazaki
Produced by Minami Ichikawa, Kazuaki Kishida, Keiichiro Moriya, and Kenji Yamada

—
“The Creator” (20th Century Studios)
“Guardians of the Galaxy, Vol. 3” (Marvel Studios + Walt Disney Pictures)
“Mission: Impossible – Dead Reckoning Part One” (Paramount Pictures)
“Napoleon” (Columbia Pictures + Apple Original Films)

The Visual Effects category is a tough one to predict. Someone made a case for the Academy picking “Napoleon,” because it was enjoyed overall and might be the easy throwaway vote, and how they described it felt like it could happen. “The Creator” was the effects-heavy movie the Visual Effects Guild awarded the most. But, the movie wasn’t received very well, so it’s hard to tell if the Academy will still go for it despite its poor reception. Then there’s “Godzilla Minus One,” which took most of us by surprise and ended up as one of the year’s best films. In addition, the budget for the film was so minimal, yet the visual effects of the Godzilla monster and his destruction were on par, if not better, than those of Hollywood films with huge budgets. I firmly believe that’s worth rewarding, and I hope the Academy also sees it that way.

Best Achievement in WRITING (ADAPTED SCREENPLAY)

“Barbie” (Warner Bros. Pictures)

Written by Greta Gerwig and Noah Baumbach

Directed by Greta Gerwig
Produced by David Heyman, Margot Robbie, Tom Ackerley, and Robbie Brenner

—
“American Fiction” – Cord Jefferson (Amazon MGM Studios + Orion Pictures)
“Oppenheimer” – Christopher Nolan (Universal Pictures)
“Poor Things” – Tony McNamara (Searchlight Pictures)
“The Zone Of Interest” – Jonathan Glazer (A24)

Every year of the Oscars, there is an upset that leaves us all talking about it. Not every category ends up the way pundits predict them. My one out-of-the-box win for this year’s awards is “Barbie,” winning Best Adapted Screenplay. “Barbie” was a phenomenon, and to only predict it to win one award (Best Original Song) is baffling. Initially, “Barbie” was supposed to be placed in the Original Screenplay category, but it switched to Adapted. Part of me feels like it might win because of that move. “American Fiction” is currently the hot film in this category because it picked up steam toward the end of the awards season. And with “Oppenheimer” poised to win Best Picture, it would go without saying that a win for screenplay is just another feather in the cap. However, the technical aspects of “Oppenheimer” make it the exceptional film it is, not necessarily the writing. I would be very happy for Cord Jefferson if he wins for “American Fiction,” but I have a gut feeling that Greta Gerwig will find her way on stage to accept this one.

Best Achievement in WRITING (ORIGINAL SCREENPLAY)

“Anatomy Of A Fall” (NEON)

Written by Justine Triet and Arthur Harari

Directed by Justine Triet
Produced by Marie-Ange Luciani, Philippe Martin, and David Thion

—
“The Holdovers” – David Hemingson (Focus Features)
“Maestro” – Bradley Cooper and Josh Singer (Netflix)
“May December” – Samy Burch; Story by Samy Burch & Alex Mechanik (Netflix)
“Past Lives” – Celine Song (A24)

Hands down, I want “Past Lives” to win here. Celine Song’s sweet love story creeps up on you and begs some genuinely thought-provoking questions. But “Anatomy Of A Fall” has all the steam heading into the Oscars, and I can’t see a world where it loses. Perhaps the Academy loves “The Holdovers” so much that it overcomes the odds and wins here. But the safe bet is Justine Triet and her partner.