Ryan Gosling and Margot Robbie in Barbie
The Producers Guild effectively cleared things up. The Screen Actors Guild muddied the waters. The Golden Globes had almost no bearing on what was expected to happen. (Except in the Screenplay race – congrats, you brilliant French interlopers!) So with Academy Awards voting officially underway through January 16, exactly one week before the announcement of nominees, it's time again for my Oscar-nomination predictions! My annual article in which I hope you forget a large portion of it five seconds after the actual nominees are revealed!
As in recent past years, I'm now as caught up on Academy Awards precursors as possible, beyond not yet knowing what emerges triumphant at the January 15 Critics Choice Awards. Really, though: Who cares? (The victors are occasionally instructive regarding eventual wins, but because the organization seems to simply rubber-stamp the opinions of online Oscars forecasters every year, the CCA doesn't help much in gauging Academy opinion prior to the nominations announcement.) The winners of the Golden Globe Awards, though, have been revealed, as have the victors of our country's three most prestigious critics organizations: the New York Film Critics Circle (NYFCC), the Los Angeles Film Critics Association (LAFCA), and the National Society of Film Critics (NSFC). Yesterday, the Producers Guild of America (PGA) announced its list of 10 favorites, and this past Wednesday, the Directors Guild of America (DGA) revealed its roster of five. Meanwhile, the British Academy of Film & Television Awards (BAFTA) revealed long-lists of films and individuals up for contention, with each category having roughly double the number of contenders who'll eventually be cited by the Oscars. Not a lot of surprises, unhappy or otherwise, regarding who did and didn't make the cut this year ... unless, like me, you were rooting hard for Rachel McAdams, and/or you're a fan of May December. (I mean, I get the movie's exclusion, but ouch.)
Off we go! The boldface names and titles below are my predicted nominees, non-boldface denotes runners-up, and predictions are in order of probability.
BEST PICTURE
Oppenheimer
Barbie
Killers of the Flower Moon
Poor Things
The Holdovers
American Fiction
Anatomy of a Fall
The Zone of Interest
Past Lives
Maestro
The Color Purple
May December
Saltburn
Society of the Snow
Spider-Man: Across the Spider-Verse
The PGA (not to be confused with the professional golf association) tends to lean populist and homegrown, with previous nominees for the annual Producers Guild of America Award including such blockbusters as Wonder Woman, Deadpool, and Shrek – movies that no one really expected to (and didn't) crack the Academy's Best Picture lineup. So this year, there was every reason to expect Anatomy of a Fall and The Zone of Interest to be usurped by far bigger hits with lots of 'murican dialogue – the latest Spider-Verse, for example, or The Color Purple. Instead, in the first instance of the PGA citing two foreign-language releases, the organization went with the boldface titles above. And even though the PGA and the Oscars have never before achieved 10-for-10 solidarity, I'm almost certain it's gonna happen this year. The only inclusion I'm even slightly hesitant about is Maestro, which seemed to be greeted with a collective “meh” by Netflix viewers (it reportedly left the service's Top 10 Movies list after only four days), and which even the Leonard Bernstein fans among my friends agree needed way-less marital strife and way-more West Side Story.
The thing is, I'm just not sensing enough passion behind any alternatives to these 10. Its SAG-ensemble and CCA Best Picture citations definitely help, but even the musical-minded Golden Globes didn't find room for The Color Purple within their six Best Motion Picture – Musical or Comedy choices, and after a robust Christmas Day opening, the film has struggled to find enthused audiences. Critics tended to adore May December, but it got skunked at SAG and barely made a dent on the BAFTA longlists. Saltburn has its fans (and many detractors), but is probably too icky to be cited here. Nexflix's Society of the Snow hasn't popped the way last year's All Quiet on the Western Front clearly did. Spider-Man could happen – yet would have a better chance if another widely loved animated offering, Hayao Miyazaki's The Boy & the Heron, weren't also in the mix.
And while there are a number of fringe options – All of Us Strangers, Air, Napoleon, Ferrari, The Iron Claw, Origin, the destined-to-be-sadly-ignored-everywhere Are You There God? It's Me, Margaret. – I don't think their pockets of support are deep enough to constitute an out-of-nowhere leap to the Oscars' top 10. So let's stick with the PGA's acknowledged titles, and hope there might be more suspense in what ultimately wins the most significant Oscar of the night than there is in what might be contending for it. There won't be, though. (Cough! Oppenheimer!)
BEST DIRECTING
Christopher Nolan, Oppenheimer
Martin Scorsese, Killers of the Flower Moon
Yorgos Lanthimos, Poor Things
Jonathan Glazer, The Zone of Interest
Justine Triet, Anatomy of a Fall
Greta Gerwig, Barbie
Alexander Payne, The Holdovers
Todd Haynes, May December
Nearly every year, the least exciting precursor announcement comes from the DGA, because nearly every year, its nominees are almost laughably easy to predict: Just go with the directors of the titles most likely to be nominated for Best Picture. That's how we get Directors Guild of America Award contenders such as Top Gun: Maverick's Joseph Kosinski, Dune's Denis Villeneuve, The Trial of the Chicago 7's Aaron Sorkin, and others whom the organization included but who didn't receive Best Directing nods on Oscars morning. This past Wednesday, the DGA's latest lineup was traditionally expected, with citations for the helmers of presumed Best Picture shoo-ins Barbie, The Holdovers, Killers of the Flower Moon, Oppenheimer, and Poor Things. But here's what else we know: The DGA and the Academy's lineups rarely match five-for-five, and when “surprises” happen with the Oscars' quintet, it's usually a European director and/or the director of a lauded foreign-language title who slips in. That's how we get Triangle of Sadness' Ruben Östlund, Drive My Car's Ryusuke Hamaguchi, Another Round's Thomas Vinterberg, and others whom the online Oscars punditry is generally shocked – shocked! – to see make the cut.
If there were only one such talent in the conversation this year, guessing Best Directing would be theoretically easy: Just put that name in the place of whomever seems like fifth in line for the DGA prize. (This year, I'm thinking that would be Payne.) But no-o-o-o! We have two writer/directors of foreign-language titles to consider: Glazer, whose film won Best Picture and Director from the LAFCA, and Triet, whose film won the Cannes Film Festival's Palme d'Or and Golden Globes for Foreign-Language Film and Screenplay – triumphing, in the latter category, over the four presumptive Best Picture favorites and Past Lives. So is it Glazer or Triet who gets in? Here's a radical suggestion: Why not both? I've been feeling for a while now that one of the more eyebrow-raising occurrences on Oscars morning will be Gerwig's absence from the Directing lineup based on factors that may or may not include jealousy, misogyny, habitual resistance to silliness, and the fact that, brilliant design aside, much of the movie's presentation resembles TV. And if, say, Glazer makes it in at the expense of Payne, at least the Academy's directing branch can momentarily ward off accusations of sexism if the voting body replaces Gerwig with Triet. Does that sound like a cynical rationale? It absolutely does. Knowing what we do about Hollywood, does it sound improbable? Perhaps not.
As always, there are plenty of additional options waiting in the wings – though I don't feel that Maestro's Bradley Cooper is a serious threat despite his CCA and Globe nods and BAFTA-longlist inclusion. The guy swept all those acknowledgments for the better-received A Star Is Born, too, and had no Best Directing citation at the Oscars to show for it. (Also, am I wrong, or am I sensing that Bradley is turning into the annual Oscar Villain whom no one really wants to reward for a particular project?) So be on the lookout for Past Lives' Celine Song, American Fiction's Cord Jefferson, Society of the Snow's J.A. Bayona, and perhaps most especially Haynes, who has forged a remarkable, singular, independent career over more than three decades yet has only been Oscar-recognized with a screenwriting nod for 2002's Far from Heaven. Dammit, Todd, it'll happen one of these days! Maybe just not on the day of January 23.
BEST ACTRESS
Lily Gladstone, Killers of the Flower Moon
Emma Stone, Poor Things
Margot Robbie, Barbie
Sandra Hüller, Anatomy of a Fall
Carey Mulligan, Maestro
Annette Bening, Nyad
Greta Lee, Past Lives
Fantastia Barrino, The Color Purple
My first two predictions feel set in (Emma and Lily Glad-)stone. Despite the Academy's notorious aversion to comedic performances, I also can't fathom a lineup that doesn't include Barbie's Barbie in the mix, and all three performers earned the quadfectra of SAG/GG/CCA/BAFTA-shortlist recognition. After that, things get dicey. Mulligan also scored the quadfectra, and her movie is definitely being promoted as The Carey-and-Bradley Show, with Carey, in a generous but somewhat nonsensical touch, even receiving top billing. But hers is still a sadly stereotypical “long-suffering wife” role that usually appears in the Supporting Actress race (and could've conceivably wound up there this year, too), and as good as Mulligan is toward the end when Felicia Montealegre is REDACTED, the character doesn't have the sort of agency the Best Actress category usually demands. Still, I'm hesitantly backing her. And while she didn't make the SAG roster, I can also see the Academy's increasingly international voting body choosing to reward Hüller, the NSFC and LAFCA champ (the latter in a tie with Stone) also cited for her role in The Zone of Interest, which is a Supporting Actress play at the Oscars. As amazing as Anatomy of a Fall is – it's my 2023 favorite – it would be a little perverse to acknowledge the movie for Best Picture, which I'm predicting will happen, without acknowledging one of the primary reasons it's up for Best Picture in the first place.
Wow … that's five! And I haven't brought up at least a half-dozen additional options – chief among them Annette Bening. She earned Globe and SAG nods, plus BAFTA-longlist consideration, which is great. But in the wake of Maestro and May December and Society of the Snow, Nyad feels like it arrived on Netflix about a zillion years ago, and the movie isn't really a credible threat in any races beyond the two female-performance-based ones. My hunch is that Nyad either scores nods for both of its stars, which it could easily do, or for neither, which seems possible based on the complete lack of interest (if not the weirdly vociferous hostility) I've been sensing via the never-reliable indicator of Oscars-themed Web chatter.
But remember last year? This is the category in which crazy, completely unpredictable things can happen! What wouldn't necessarily be insane is recognition for BAFTA's longlisted Lee (a Globe and CCA nominee) or Barrino (a Globe and SAG-ensemble nominee), nor Globe contenders Natalie Portman for May December and Cailee Spaeny for Priscilla. Here's who would make the Intensely Online lose their minds: Jessica Chastain for Memory. Teyana Taylor for A Thousand & One. Jennifer Lawrence for No Hard Feelings. (Don't laugh! She got Globe-cited and is a four-time previous Oscar nominee!) And Origin's Aunjanue Ellis-Taylor, a Supporting Actress contender two years ago for King Richard who has been amassing resplendent reviews and is being officially backed by Frances Fisher – you know, the Unofrgiven actress who started the word-of-mouth streamroller campaign for last year's Andrea Riseborough. The To Leslie star (in)famously did get nominated, but I doubt Fisher's voice will have similar impact this year, because her advocacy tactics almost resulted in Riseborough losing her nomination. (There was an official Academy investigation about it and everything.) I have no doubt that Ellis-Taylor is amazing in Ava DuVernay's film. But this year at least, she needed stronger advance recognition than Frances Fisher's.
BEST ACTOR
Cillian Murphy, Oppenheimer
Jeffrey Wright, American Fiction
Bradley Cooper, Maestro
Paul Giamatti, The Holdovers
Andrew Scott, All of Us Strangers
Colman Domingo, Rustin
Leonardo DiCaprio, Killers of the Flower Moon
Barry Keoghan, Saltburn
Damn those SAG nominations. After he received his inevitable nod for Flower Moon – the Screen Actors Guild's voting body having previously cited him for individual recognition six times over 16 years, including for Academy-ignored turns in The Departed and J. Edgar – I was ready to explain why DiCaprio was still going to be Oscars-slighted this season. Admittedly, I'm not a fan of his work in this movie. (I liked him even less during my recent return to the film on Apple+.) But I've communicated with a bunch of professional and non-professional actors on this subject, and no one I've contacted thinks he gave a good performance, or was even remotely well-cast, in Scorsese's latest. Leo's early lock on a Best Actor nomination was just blogger hype, dammit! Just like with De Niro in The Irishman! And then what happened? Even SAG found five guys to cite instead of DiCaprio. Wise choice, but still – crap. I had a killer opening paragraph all prepared for this category.
Moving forward, it feels like Globe winners Murphy and Giamatti are on totally safe ground, as is the phenomenal Wright for deserved we-should-have-recognized-you-sooner recognition. Cooper also feels like a done deal. But as suggested earlier, a snub here wouldn't completely surprise me, as it feels impossible to gauge just how beloved Maestro is with voters-at-large ... and if Cooper were as well-liked in Hollywood as it's easy to imagine, a Globe win for Best Actor would've been the first stop in an unstoppable march. That leaves us with Scott and Domingo as our fifth-contender options, and with DiCaprio (theoretically) out of the mix, I have to be happy about the prospect of at least one gay actor getting cited for a leading role as a gay character – which hasn't happened since Ian McKellen received a nod for Gods & Monsters a full quarter-century ago.
For sure, some straight dudes could show up to keep the category purely hetero: Keoghan; Napoleon's (or Beau Is Afraid's) Joaquin Phoenix; Ferrari's Adam Driver; Memory's Peter Sarsgaard. But those guys feel like the longest of longshots. I should probably be going with Domingo because he shares with the top four boldface names SAG/GG/CCA/BAFTA-shortlist status; because his historical drama is easily accessible on Netflix; and because, if you squint, you can actually forget that Rustin is about a Civil Rights leader who also happens to be gay. Though without yet having benefit of seeing his film – fingers crossed for the January 19 weekend! – I'm going out on a shaky limb and predicting Scott. His NSFC victory over runners-up Wright and Murphy makes that guess a little more sturdy, but I'm really choosing Scott because people who like All of Us Strangers appear to lo-o-o-ove it, and neither critics nor precursor organizations appear to have much love for Rustin. (A fiercely well-regarded, award-winning stage actor, Scott has also been a decade-long Internet Boyfriend thanks to his roles as Moriarty in the Benedict Cumberbatch Sherlocks and the definitive Hot Priest in Fleabag.) I should note, however, that if DiCaprio does make the lineup over both Scott and Colman, and if my Best Picture and Actress predictions do come to pass, this would mark the first year ever that all of the Oscars' leading-performer nominees hailed from adjoining Best Picture nominees. That would be historic. Still not reason enough to vote for Leo.
BEST SUPPORTING ACTRESS
Da'Vine Joy Randolph, The Holdovers
Danielle Brooks, The Color Purple
Penélope Cruz, Ferrari
Emily Blunt, Oppenheimer
Rosamund Pike, Saltburn
Jodie Foster, Nyad
Rachel McAdams, Are You There God? It's Me, Margaret.
Julianne Moore, May December
If you hear a weird sloshing sound while reading this, it's likely because I'm pouring one out for Rachel McAdams, who – apologies, Da'Vine Joy! – should be walking away with the Supporting Actress Oscar this year. But even though she ranks second to the Holdovers co-star in terms of pre-Oscars recognition, including dual recognition with Randolph for the LAFCA's gender-irrelevant Supporting Performance prize, McAdams wasn't cited by any of the four instrumental Oscars precursors. I'm really only keeping her as my second runner-up in hopes of an Oscar-nomination-morning miracle à la Roma's Marina de Tavira. But de Tavira was cited for a Best Picture frontrunner. McAdams is fronting a film with no other obvious Oscar hopes (barring a way-outside Adapted Screenplay bid) whose subject matter will make roughly half the voting body queasy, if they bother to watch it at all. So here's to you, Rachel! I'm enjoying a Bloody Mary in your honor!
That being said, when I mention that McAdams has the second-most prizes behind Randolph, that's true. But here's what's also true: As of this writing, McAdams has five, and Randolph has three dozen, including wins from the Globes and the rare trifecta of NYFC/LAFCA/NSFC victories usually reserved for the likes of Cate Blanchett in TÁR. It didn't play out for Cate, but Da'Vine is absolutely winning this Oscar; don't be a hero by predicting otherwise. Who, then, gets to act as her bridesmaids?
Three other performers have joined Randolph among SAG/GG/CCA/BAFTA-shortlist honorees. I'm predicting two of them. Only the movie's steep box-office decline could possibly keep Brooks from acknowledgment, and with major reservations, I'm also going with Blunt. Truthfully, I should have zero reservations: it's a long-suffering-wife role in the Best Picture frontrunner whose portrayer should've been a first-time nominee years before now. I'd feel more confident, though, about Blunt's presumably inevitable recognition had she won a single precursor award, and if I could remember even one moment from her Oppenheimer performance. (If memory serves, she was kinda drunk and antagonistic toward the end … ?) Yet Randolph's, Brooks', and Blunt's fellow quadfecta cohort Foster might not be so lucky, if only, again, because Nyad feels like it happened roughly a decade ago. Instead, let's go with fresher options in SAG nominee Cruz and Globe nominee Pike, whose performances stand out even if – maybe especially if – you're not a fan of their films. And regarding additional options, keep in mind Barbie's CCA nominee America Ferrara, The Zone of Interest's Sandra Hüller, The Color Purple's Taraji P. Henson, All of Us Strangers' Claire Foy, and Killers of the Flower Moon's Cara Jade Myers. I may have appreciated Leo even less on a second viewing, but those few, stunning minutes spent with Myers made me think she could totally crash the Supporting Actress party.
BEST SUPPORTING ACTOR
Robert Downey Jr., Oppenheimer
Ryan Gosling, Barbie
Willem Dafoe, Poor Things
Mark Ruffalo, Poor Things
Robert De Niro, Killers of the Flower Moon
Sterling K. Brown, American Fiction
Dominic Sessa, The Holdovers
Charles Melton, May December
In early October, I e-mailed very-early Oscar predictions to a friend with the boldface names above in roughly the same order, and asked him, “This thing can't possibly be as locked-and-loaded as it appears to be, right?!” Turns out, more than three months later … yeah, it maybe can.
Globe winner Downey, Gosling, and De Niro all nabbed the four-fer of SAG/GG/CCA/BAFTA-shortlist recognition, and the only reason De Niro is my fifth guess rather than my third is because it's easy to imagine voters thinking he's been rewarded enough since his first Oscar nod, and win, one year shy of a half-century ago. Dafoe missed with the CCA and BAFTA, but his making the roster over the presumably more-favored Ruffalo at SAG suggests he's on safe ground. As for Ruffalo himself? He only missed with SAG, has a trio of regional-critics' prizes behind him (as opposed to Dafoe's zero), and his last Oscar nod – for 2015's Spotlight – also came for a performance ignored by SAG and the Globes. So yeah: These five feel right. They also inspire a mild sense of déjà vu in this category, as it was only four years ago that the Best Supporting Actor lineup – as this one would be – was composed entirely of previous nominees with healthy nomination tallies among them. That previous race boasted five performers with (at the time) 27 nominations under their belts, plus five wins. This one, if my boldface predictions come to fruition, would boast five with 23 collective nods and two prior victories. And as good as he is, two-time winner De Niro ain't winning this year, so cool for whomever does get the prize! (Cough! Downey!) But does anyone else have a shot? Absolutely.
Although my e-mailed buddy is essentially getting a reprise of my early-October predictions, there has been, and continues to be, a bit of waffling going on. Given his wins with the NYFCC and NSFC, to say nothing of his Gotham Award victory in that group's gender-irrelevant Supporting Performer category, I thought until last week that Melton was a surefire contender. Then he missed with SAG and BAFTA – the two awards bodies whose voters actually have overlap with those of the motion-picture Academy – and I remembered how frequently inhospitable the Oscars can be toward gorgeous young performers making their cinematic breakouts. (Just ask Black Swan's Mila Kunis, The Social Network's Andrew Garfield, and The Descendants' Shailene Woodley how their Oscar-night plans turned out – and voters actually liked those movies!) An evident exception was made last year for Aftersun's Paul Mescal, and I considered him for inclusion here until it became apparent that his and Andrew Scott's fantastical gay love story All of Us Strangers wasn't being embraced by critics the way Sony Pictures Classics undoubtedly hoped. (Mescal and co-star Jamie Bell, however, are still on BAFTA's longlist.) In their place, I'm currently citing SAG and CCA nominee Brown and The Holdovers' wouldn't-it-be-awkward-if-we-ignored-him? Sessa for runners-up status alongside Melton, acknowledging that other talents – principally Past Lives' John Magaro, Oppenheimer's Matt Damon, and any number of Air boys – might also be in the mix.
BEST ORIGINAL SCREENPLAY
The Holdovers, David Hemingson
Past Lives, Celine Song
Anatomy of a Fall, Justine Triet, Arthur Harari
Asteroid City, Wes Anderson, Roman Coppola
Air, Alex Convery
Maestro, Bradley Cooper, Josh Singer
May December, Samy Burch, Alex Mechanik
Saltburn, Emerald Fennell
Although Barbie lobbied to be deemed an original screenplay, it was eventually decided, in a surprising/not-surprising Academy decision, to be an adapted work instead. (Come on! You must remember that entry in the Barbie book series where the doll met her creator and decided to abolish patriarchy and yearned to be a real-life woman with a gynecologist!) That sucks for anyone – including, maybe most urgently, ABC and the televised ceremony's producers – hoping the night would open with both Barbenheimer efforts winning Oscars in competing writing categories. But the decision at least opens the door to under-acknowledged scripts potentially making the Original lineup. And because I can't yet decide whether voters, as a whole, might dislike Maestro or May December more, I'm predicting two capital-A titles that might not receive any recognition elsewhere, primarily in the hopes that I might get one out of two right. If voters are feeling really adventurous, maybe Saltburn or The Iron Claw sneaks in. Regardless of what transpires, most Oscars seasons are either strongly Original or strongly Adapted, and among this year's crop of contenders, the Original Screenplay field for 2023 looks uncharacteristically lacking. Not in quality, mind you; just quantity.
BEST ADAPTED SCREENPLAY
Barbie, Greta Gerwig, Noah Baumbach
American Fiction, Cord Jefferson
Killers of the Flower Moon, Eric Roth, Martin Scorsese
Oppenheimer, Christopher Nolan
Poor Things, Tony McNamara
All of Us Strangers, David Haigh
The Zone of Interest, Jonathan Glazer
Are You There God? It's Me, Margaret., Kelly Fremon Craig
Once Barbie entered this race, it became boring as hell. Bully for all of my predicted nominees. I like all of their scripts. I would've liked this category's lineup better with a wild card thrown in. As it stands, this is my only predicted category in which I would be shocked if an outier snuck its way in, the maybes including the screenplays for the above-mentioned runners-up (Strangers and Zone stll unseen by me), as well as Spider-Man: Across the Spider-Verse, Society of the Snow, Priscilla … or even (other) titles I haven't yet viewed, such as The Taste of Things and Origin, the latter of which also had its hopes for Original consideration pooh-poohed by the Academy. This goes on every year. Speaking as a writer, is it maybe time for a third category devoted to screenwriters? A “based on stuff you might know but not strictly adapted from source material” kind of thing? Because if there were, that category this year could easily boast contenders including Barbie, Origin, Air, Maestro, Napoleon, The Iron Claw, and, yes, the supremely deserving John Wick 4, among additional titles. I'm not one who usually argues for the lengthening of awards ceremonies … but maybe in this case, I am.
BEST ORIGINAL SONG
Barbie, “What Was I Made For?”
Barbie, “I'm Just Ken”
Rustin, “Road to Freedom”
Flamin' Hot, “The Fire Inside”
Flora & Son, “Meet in the Middle”
American Symphony, “It Never Went Away”
Past Lives, “Quiet Eyes”
Barbie, “Dance the Night”
Academy rules no longer allow more than two songs from a single film to be cited here, so I'm only including Dua Lipa's hit “Dance the Night” as a runner-up in case voters don't cotton to “I'm Just Ken.” But I don't think that'll happen. And while Billie Eilish's “What Was I Made For?” seems as certain a winner in this category as we've had since … well, since last year's RRR champ, I'm also currently predicting Lenny Kravitz's Rustin anthem, one of two long-listed songs from the John Carney musical Flora & Son (Once's signature tune won the Oscar and a Begin Again number was nominated), and a composition by Diane Warren. Because she always gets nominated. As a longtime Oscars-completist, Academy, I'm begging you: Don't force me to watch Flamin' Hot.
BEST ANIMATED FEATURE
Spider-Man: Across the Spider-Verse
The Boy & the Heron
Elemental
Nimona
Suzume
Robot Dreams
Teenage Mutant Ninja Turtles: Mutant Mayhem
Chicken Run: Dawn of the Nugget
My only true wish? The absence of Wish.
BEST INTERNATIONAL FEATURE FILM
The Zone of Interest, United Kingdom
Society of the Snow, Spain
The Taste of Things, France
Fallen Leaves, Finland
20 Days in Mariupol, Ukraine
Perfect Days, Japan
Tótem, Mexico
The Teachers' Lounge, Germany
BEST DOCUMENTARY FEATURE FILM
Beyond Utopia
20 Days in Mariupol
American Symphony
Four Daughters
The Eternal Memory
A Still Small Voice
Apolonia, Apolonia
Still: A Michael J. Fox Movie
BEST CINEMATOGRAPHY
Oppenheimer
Killers of the Flower Moon
Poor Things
Maestro
El Conde
The Zone of Interest
Saltburn
Napoleon
BEST FILM EDITING
Oppenheimer
Killers of the Flower Moon
Poor Things
Anatomy of a Fall
Barbie
The Holdovers
Maestro
Ferrari
BEST PRODUCTION DESIGN
Barbie
Poor Things
Killers of the Flower Moon
Oppenheimer
Asteroid City
Napoleon
Wonka
Saltburn
BEST COSTUME DESIGN
Barbie
Poor Things
Killers of the Flower Moon
Napoleon
Maestro
The Color Purple
Wonka
Priscilla
BEST SOUND
Oppenheimer
Ferrari
Maestro
Killers of the Flower Moon
The Zone of Interest
Napoleon
The Creator
Barbie
BEST ORIGINAL SCORE
Oppenheimer
Killers of the Flower Moon
Indiana Jones & the Dial of Destiny
The Zone of Interest
The Boy & the Heron
Society of the Snow
Spider-Man: Across the Spider-Verse
Elemental
BEST VISUAL EFFECTS
The Creator
Poor Things
Godzilla Minus One
Guardians of the Galaxy Vol. 3
Indiana Jones & the Dial of Destiny
Napoleon
Society of the Snow
Mission: Impossible – Dead Reckoning Part One
BEST MAKEUP & HAIRSTYLING
Maestro
Golda
Poor Things
Society of the Snow
Oppenheimer
The Last Voyage of the Demeter
Killers of the Flower Moon
Ferrari
