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The 96th Academy Awards ceremony promises to be a star-studded affair wherein both up-and-coming and established talent will shine under the bright and glittery lights of the Dolby Theatre. Our in-house writers (and cinephiles), Dhruv and Naveen, have penned down their predictions on who will go home with the Oscar statuette. If you’re a film buff, you’ll especially love this one, we promise. Before we get to the good stuff, let’s address the elephant in the room.
The Iron Claw didn’t receive a single nomination. (Yes, the Barbie snub stung, but this one stung a tad more.)
It’s no Rocky but the searing sports drama had everything going for it — it was based on a true story, got an end-of-year release date (which if you didn’t know is a great time for Oscar-bait movies), featured terrific performances from almost everyone in the cast and, most importantly, dealt with a subject matter we can all relate to. No, not professional wrestling but a more pressing theme such as patriarchy.
No wonder Greta Gerwig and this movie (plus its cast and crew) were shunned by the Academy voters who’re predominantly over the age of 60. Leaving controversies aside, we have to applaud the fact that this year’s edition will boast the first-ever Native American nominee in the Best Actress category.
Just like you, we too are waiting with bated breath to find out if Lily Gladstone also becomes the first Native American actor to lift the coveted trophy! Gladstone, no doubt, seems like a shoo-in to win the Oscar this year, but will there be a twist in the tale?
Without further delay, below are Dhruv and Naveen’s predictions for the six most popular Oscar categories.
Actor in a Supporting Role
Nominees
Sterling K. Brown (American Fiction)
Robert De Niro (Killers of the Flower Moon)
Robert Downey Jr. (Oppenheimer)
Ryan Gosling (Barbie)
Mark Ruffalo (Poor Things)
Our winner(s)
“Barbie might have been snubbed at the Oscars in two major categories, but at least Ken made it. This nomination feels like a pat on the back for Ken who has a noticeable character development and a strong footing in the film, making him the most memorable character in this ensemble. Navigating through this colossal feminist fable that’s not even about him is quite the feat. Ryan Gosling steals the show”
– Dhruv
“Robert Downey Jr., a.k.a. RDJ, even before his Iron Man days, had oodles of charisma you’d only expect in a seasoned movie star, not to mention his immense acting chops. He put both those assets to good use in Richard Attenborough’s Chaplin (1992) and earned himself his first Oscar nom for portraying the titular character with grit and panache.”
– Naveen
Dhruv’s take
I half-expected the Supporting Actor category at the Oscars to feature a dog and a doll as nominees this year, but for now, let’s celebrate the doll’s nod. Ken’s journey is filled with juicy moments. He lands the best jokes, gets multiple musical numbers, and shows depth and self-awareness. It might just be Gosling’s most impressive role yet. Playing a himbo with such flair isn’t easy, but Gosling pulls it off with style. He even outshines America Ferreira, ensuring Ken isn’t just a one-dimensional character.
Coming to Oppenheimer, besides Cillian Murphy, if there was anyone who deserved a nomination in the film, it was him. In fact, I’d go so far as to say that I found RDJ’s performance more compelling than the film’s lead. He made sure that he employed his charm and acting prowess (still intact) in equal measure in his 23 minutes and 50 seconds of screen time. And when that ending twist arrived, I knew he’d be a hot favourite this awards season.
Actress in a Supporting Role
Nominees
Emily Blunt (Oppenheimer)
Danielle Brooks (The Cooler Purple)
America Ferrera (Barbie)
Jodie Foster (Nyad)
Da’Vine Joy Randolph (The Holdovers)
Our winner(s)
“If Paul Giamatti was the anchor, Da’Vine was the wind that filled the sails, propelling the film forward with the necessary force. She was the pulsating rhythm at the core of the film, infusing it with heartache and resilience as she portrayed a grieving mother with grace and fortitude.”
– Dhruv
“Despite sharing screen space with an actor of Paul Giamatti’s calibre, she held her own, and her character’s banter with Giamatti’s character made for some of the funniest moments of the film. The only thing not on her side is her age, so there’s a good chance Jodie Foster, with two Oscars already to her name, could swoop right in at the last minute and steal the win from her.”
– Naveen
Dhruv’s take
I know I’m not alone in feeling that Da’Vine Joy Randolph should be getting this Oscar, especially after taking home a Golden Globe, a BAFTA, an Independent Spirit Award and, tellingly, a SAG award for her work in The Holdovers.
In this triangle of sadness made up of Dunham, Angus and Mary, we see Mary (Da’Vine Joy Randolph) bring the much-needed tenderness to the film akin to a mother’s touch. Her isolation from her surroundings is not just physical but emotionally layered, and Da’Vine Joy Randolph is brilliant in expressing her loss without the obvious ways of expressing grief and angst.
I had no clue who Da’Vine Joy Randolph was before watching The Holdovers, but her character stayed with me long after I’d finished watching the movie. Given she’s a Millennial and has been in the business for no longer than a decade, the pathos she brought to the role of a grieving mother who’d lost her son in the war was nothing short of remarkable.
Actor in a Leading Role
Nominees
Bradley Cooper (Maestro)
Colman Domingo (Rustin)
Paul Giamatti (The Holdovers)
Cillian Murphy (Oppenheimer)
Jeffrey Wright (American Fiction)
Our winner(s)
“This is Paul Giamatti’s second Academy Award nomination in almost 20 years, competing against strong performances from Cillian Murphy and Bradley Cooper, both playing autobiographical characters. But based on his work in The Holdovers, Giamatti stands out as a top contender for the Best Actor Oscar.”
– Dhruv
“I’m not going to go into details lest I spoil the film for you. What I’ll reveal instead is that prosthetics play an important role in the film in a way you’d have never expected.”
– Naveen
Dhruv’s take
At first, it might seem like Paul Giamatti’s character is just given surface-level details — a typical lonely, unpopular teacher with not much going for him in life or work. But as the movie goes on, these little things add up to tell a moving story about a lonely teacher with a lazy eye. Giamatti uses all these details to play a character that one can most relate to and feel for. He is the anchor of The Holdovers, securing and holding the story together to prevent it from drifting away from the audience.
Giamatti faces a stiff challenge from Murphy, a first-time nominee and the man to beat this season, but I think he has his one hand firmly on the Oscar statuette and he’s not letting it go that easily. The reason I’m so bullish about this thespian’s chances is because his performance as a strict high school teacher in the coming-of-age drama was truly unique for more reasons than one. Mark my words: if the actor does win this weekend, he won’t forget to thank his makeup and prosthetics team in his acceptance speech.
Actress in a Leading Role
Nominees
Annette Bening (Nyad)
Lily Gladstone (Killers of the Flower Moon)
Sandra Hüller (Anatomy of a Fall)
Carey Mulligan (Maestro)
Emma Stone (Poor Things)
Our winner(s)
“Gladstone never portrays Mollie’s character with unnecessary melodrama. Instead, she finds the truth of the character in every moment, using it to propel the story forward and serve as a representation of all indigenous victims.”
– Dhruv
“Yes, there’s a good chance we could witness an anti-climax in this category like the one that occurred in 2021. Why? Because history is clearly not on Gladstone’s side. The last actor to win an Oscar for a Scorsese movie was Cate Blanchett, and this win came two decades ago.” –
– Naveen
Dhruv’s take
There were several aspects of Killers of the Flower Moon that lingered with me long after I left the theatre — the story, the music, the performances. However, one performance and one face in particular stood out and haunted me for days: Lily Gladstone as Mollie Burkhardt.
Gladstone is one of those actors who can captivate the audience without uttering a single word. I couldn’t look away from her. Amidst the darkness and cruelty of the tragedy, it is her magnetic presence that shines as a revelation. If she wins the Oscar for Best Actress this year, it will not only recognise her talent in the film but also mark a significant first win for Native Americans.
Gladstone’s character is too bleak per Academy standards. This 95-year-old institution has a hard time with parts that don’t redeem themselves or don’t inspire hope and or confidence in an audience. (Joaquin Phoenix may be the only aberration to this unspoken rule.) Sandra Hüller, on the other hand, was electric in Anatomy of a Fall, and the (in)famous domestic argument scene (in the middle of the film), alone, should be enough for her to pip Gladstone for the Best Actress. Let’s not forget, Hüller spoke two different languages in the film — neither of them were her native tongue!
Directing
Nominees
Justine Triet (Anatomy of a Fall)
Martin Scorsese (Killers of the Flower Moon)
Christopher Nolan (Oppenheimer)
Yorgos Lanthimos (Poor Things)
Jonathan Glazer (The Zone of Interest)
Our winner(s)
“To create a French courtroom drama that unravels the mishappenings within a family, along with the myriad feelings, emotions and realities that accompany it, is not easy. It requires a firm grasp of your material and a dedicated commitment to telling it in a compelling manner.”
– Dhruv
“This is going to be a tough one but one of the directors is a sure-shot winner for me.
I’m going to rule out Jonathan Glazer — his directing style may be way too avant-garde for the Academy voters. Similarly, Yorgos Lanthimos’s film may be a little too over-the-top for their taste. I know what you’re thinking, but it’s not Nolan’s time to shine in the light yet.”
– Naveen
Dhruv’s take
With renowned names like Christopher Nolan and Martin Scorcese in the running for Best Director, it might look difficult for other directors to stand out, no matter how genius they are. But out of this lot, Justine Triet has, in some ways, managed to do what Christopher Nolan and Martin Scorsese couldn’t do, no offence. Triet has a specific visual style. Her storytelling doesn’t give away. The Zone of Interest is another compelling film that deals with a specific ecosystem but in a very compromising time and situation. It is almost domestic voyeurism showcasing the emotional depths of a particular family and its members. The Zone of Interest could’ve done it. But out of the ten contenders, only Triet managed to achieve that with Anatomy of a Fall.
Since 2019, directors of smaller films have won the Best Director honour, so I have a feeling this year’s winner is not going to buck the trend. If I were to place a bet, I’d place it on Justine Triet, and the only real scare she could get is from the 10-time nominee and the legend himself, who might be eyeing his second Best Director win to join this elite list of directors who have more than one Oscar under their belt. But it’s the Oscars, you never know what’s going to happen!
Best Picture
Nominees
American Fiction
Anatomy of a Fall
Barbie
The Holdovers
Killers of the Flower Moon
Maestro
Oppenheimer
Past Lives
Poor Things
The Zone of Interest
Our winner(s)
“To create a French courtroom drama that unravels the mishappenings within a family, along with the myriad feelings, emotions and realities that accompany it, is not easy. It requires a firm grasp of your material and a dedicated commitment to telling it in a compelling manner.”
– Dhruv
“This is going to be a tough one but one of the directors is a sure-shot winner for me.
I’m going to rule out Jonathan Glazer — his directing style may be way too avant-garde for the Academy voters. Similarly, Yorgos Lanthimos’s film may be a little too over-the-top for their taste. I know what you’re thinking, but it’s not Nolan’s time to shine in the light yet.”
– Naveen
Dhruv’s take
With renowned names like Christopher Nolan and Martin Scorcese in the running fHuman relationships, especially the ones shared between a man and a woman, are often highly interesting to look at, study and just observe. Anatomy of a Fall has one such relationship being meticulously studied; its tale twisted, pages ripped off and presented for us to make sense of it through our knowledge of the world we live in.
The film, one of Nolan’s most political films yet, did a great job mirroring the current society we all live in. One scene, in particular, sent chills down my spine – the one in which decision-makers go about picking the two Japanese cities they’d target with J. Oppenheimer’s creation, almost as if they were planning a holiday trip. I appreciated how the film didn’t at any point try to pigeonhole itself as a pure genre affair. It checked all the right boxes and other than a couple teeny Nolan-esque indulgences, I rather enjoyed everything about this 3-hour-drama, including the parts that dragged.
We hope you liked this article. Despite some annoying snubs, we believe there’s a lot to cheer about at this year’s Oscars. Got a contrasting opinion? Or did you agree with most of what we had to say in this piece? Whatever it is, please let us know in the comments.
Don’t forget to tune in to the live broadcast on March 11, 4 am IST.
