The big movie festival is nearing, and anticipation is high as fans await the Dolby Theatre in Los Angeles for the annual Oscar ceremony. Across the world, fans count the moments from late night into the early hours as a parade of red-carpet fashion erupts. With fashion, razzle-dazzle, and sharp speeches, the 2023 Oscars stay firmly on everyone’s radar. The question on many lips is who will stand out on the red carpet this year, echoing the grace of Zendaya or the timeless style of Penélope Cruz, and which moments will become unforgettable, much like past highlights from Amy Schumer or Venus Williams.
When the clock hits 2:00 in the morning, the ceremony in Spain will begin, hosted by Jimmy Kimmel. While several categories lack obvious frontrunners, predictions for Oscar night remain a lively topic for fans and critics alike.
Best Picture features a strong lineup that includes All Quiet on the Western Front, They Speak, The Fabelmans, The Banshees of Inisherin, Triangle of Sadness, Elvis, Avatar: The Way of Water, and Top Gun: Maverick. It may seem odd to see both the second installment of Avatar and the high-profile remake of Top Gun in the mix, yet their chances at the statuette appear slim in the eyes of many observers.
Many eyes point to Steven Spielberg’s latest work, The Fabelmans, a semi-autobiographical drama that blends personal memory with cinematic craft, alongside Everything Everywhere All at Once for a potential double triumph. The American director’s family history resonates with global audiences and critics alike, fueling expectations for a significant win. Yet a surprising challenger exists: a film that pushes Hollywood’s conventional boundaries, inviting renewed discussion about creativity in a landscape dominated by big studio projects.
Directors are charged with the same weight of expectation as Best Picture, with five contenders challenging for the trophy. Steven Spielberg sits among them for The Fabelmans; Daniel Kwan and Daniel Scheinert share directorial credit for Everything Everywhere All at Once; Ruben Östlund returns with Triangle of Sadness; Todd Field leads TÁR; and Martin McDonagh heads The Banshees of Inisherin. The 95th edition again reminds viewers how a director’s vision can carry a film through a crowded field.
If Everything Everywhere All at Once takes Best Picture, it could influence the directing race as well, but the overall favorite remains debated, with Spielberg often cited as a leading contender.
Five performers will travel to Los Angeles to accept the Best Actress statuette. Nominees include Cate Blanchett for TÁR, Ana de Armas for Blonde, Michelle Yeoh for Everything Everywhere All at Once, Michelle Williams for The Fabelmans, and Andrea Riseborough for To Leslie.
In a category crowded with strong performances, Ana de Armas and Michelle Yeoh are formidable contenders, yet Cate Blanchett’s track record and recent acclaim keep her in the spotlight. This season has sparked discussion about Best Supporting Actress, with Andrea Riseborough’s nomination drawing particular attention for its unusual origins, alongside prominent performances from Michelle Yeoh and Hong Chau.
For Best Supporting Actor, five nominees gather in Los Angeles: Ke Huy Quan for Everything Everywhere All at Once, Barry Keoghan for The Banshees of Inisherin, Brendan Gleeson for The Banshees of Inisherin, Brian Tyree Henry for Causeway, and Judd Hirsch for The Fabelmans. Quan’s standout turn has earned widespread praise, and his collaboration with directors Daniel Kwan and Daniel Scheinert has become one of the ceremony’s most celebrated threads.
Many observers note the sustained excellence of Quan’s performance as a centerpiece of a film that has resonated with audiences and critics alike, suggesting a strong case for the award.
Also in the Best Original Screenplay race, writers find their voices: Martin McDonagh for The Banshees of Inisherin, Todd Field for TÁR, Tony Kushner and Steven Spielberg for The Fabelmans, Ruben Östlund for Triangle of Sadness, and Daniel Kwan and Daniel Scheinert for Everything Everywhere All at Once. The family-centered drama of The Fabelmans and the daring structure of Everything Everywhere All at Once provide two contrasting paths to victory, making this category one of the most fiercely contested.
As the night unfolds, predictions focus on how the emotional arc of The Fabelmans might influence the rest of the awards, potentially signaling a broader sweep for Spielberg’s project if it secures multiple trophies.
In the Best Adapted Screenplay race, five contenders stand out: Sarah Polley for Women Talking, adapted from Miriam Toews’s novel; Jim Cash and Jack Epps Jr. and Peter Craig, Justin Marks, Ehren Kruger, Eric Warren Singer, and Christopher McQuarrie for Top Gun: Maverick, drawing from established characters; Rian Johnson for Glass Onion: A Knives Out Mystery, based on the Knives Out universe; Edward Berger, Lesley Paterson, and Ian Stokell for All Quiet on the Western Front, adapted from Erich Maria Remarque; and Kazuo Ishiguro for All the Front, drawing on Kurosawa’s Ikiru concept.
Ishiguro’s continued presence in conversations around the Adapted screenplay category is notable, even as Polley’s work on Women Talking remains a popular favorite in many circles. The field remains open, with passionate debates around adaptation rights and faithful translation of source material to screen.
Overall, this Oscar season is remembered for its lively discussions about storytelling, genre bending, and the evolving balance between prestige cinema and popular appeal. While the frontrunners may shift with each award announcement, the ceremony remains a showcase of craft, performance, and the power of cinema to reflect big ideas in intimate, human terms. The night’s outcomes will likely shape conversations for months, offering plenty of talking points, surprises, and moments that echo through awards seasons to come. [citation needed]