Academy Awards Predictions

 Academy Awards Predictions

By Lucas Battista

Last week, I told you what or who I personally think should win; this week, I’m giving you my predictions for what or who will win for the 96th Academy Awards scheduled for this Sunday, March 10. I can assure you that, as usual, we will see this ancient ceremony for the moving-picture saturated in drama (they wouldn’t be doing their job as actors and actresses otherwise), and once more, we will get to witness a sea of millionaires in funny suits clapping for each other!

Addendum: I forgot Maestro existed, I think everyone else might have as well.


CILLIAN MURPHY, “Oppenheimer”

It seems crystal clear that Oppenheimer will take home the most picks, sitting at a middle-point between being critically acclaimed and publicly popular. It’s particularly inoffensive, although it’s worth noting that the Oscars in general has warmed up to the idea of catalyzing and picking up controversies, especially with consistently declining ratings. Plus, Cillian Murphy has just recently pierced the public consciousness through “Peaky Blinders,” with “Oppenheimer” only further cementing him as a household name.



It’s no particular surprise that Robert Downey Junior will be picked for Best Supporting Actor, having given us a frightening performance as Oppenheimer’s nefariously mundane villain. I’ve said my piece about him in last week’s column, and I’m certain that if he were to get the gold statuette, it would be congruent with him as my personal pick as well.


LILY GLADSTONE, “Killers of the Flower Moon”

It seems very likely that “Killers of the Flower Moon” will get smothered in practically every other category, which is particularly disappointing considering how damn fine it was as a movie, c’est la vie. Nonetheless, I believe Lily Gladstone will win Best Actress, and probably deservedly, as she showed us just how much can be conveyed with a handful of words.



The Holdovers in general was a fantastic ball of schmaltz engineered with great precision to pull at our heartstrings, and Da’vine Joy Randolph gave us a very tactile, real character. Against the other contenders for Best Supporting Actress, she is certain to win by sheer theatrical prowess and a deep look into humanity past any other Actor or Actress up for any award here.


“POOR THINGS,” Robbie Ryan

This was my personal pick, and I am willing to bet that KTFW will win best cinematography through its almost ingenious mesh of movement among characters pressed next to carefully devised pathing for the camera.


“OPPENHEIMER,” Christopher Nolan

This one is practically in the bag for Christopher Nolan, having only once come close to Best Directing through “Dunkirk.” He carries a pretty large repertoire of films at this point, and regardless of how you feel about him, the way he crafts movies is both electric and cerebral.


“BARBIE,” David Heyman, Margot Robbie, Tom Ackerley and Robbie Brenner, Producers

I refuse to elaborate. Let’s say I’m going to be very, very wealthy on May 5, which happens to be one day after the Kentucky Derby. Or “Oppenheimer” will win, but it wouldn’t be remotely as controversial, and not as many people would talk.

Others: FILM EDITING – “OPPENHEIMER,” Laurent Sénéchal, COSTUME DESIGN – “POOR THINGS,” Holly Waddington, INTERNATIONAL FEATURE FILM – “THE ZONE OF INTEREST,” United Kingdom, MAKEUP AND HAIRSTYLING – “POOR THINGS,” Nadia Stacey, Mark Coulier and Josh Weston, MUSIC (ORIGINAL SCORE) – “OPPENHEIMER,” Ludwig Göransson, MUSIC (ORIGINAL SONG) – “WHAT WAS I MADE FOR?” from “Barbie”; Music and Lyrics by Billie Eilish and Finneas O’Connell, PRODUCTION DESIGN – “BARBIE,” Production Design: Sarah Greenwood; Set Decoration: Katie Spencer, SOUND – “OPPENHEIMER,” Willie Burton, Richard King, Gary A. Rizzo and Kevin O’Connell, VISUAL EFFECTS – “GODZILLA MINUS ONE,” Takashi Yamazaki, Kiyoko Shibuya, Masaki Takahashi and Tatsuji Nojima, WRITING (ADAPTED SCREENPLAY) – “AMERICAN FICTION,” Written for the screen by Cord Jefferson and WRITING (ORIGINAL SCREENPLAY) – “ANATOMY OF A FALL,” Screenplay – Justine Triet and Arthur Harari

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