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Stars from throughout the filmmaking world are gathering this weekend in the US for the ninety fifth annual Academy Awards ceremony, one of the crucial prestigious occasions within the cinema world.

However the excessive level will seemingly come on the finish of Sunday night, when this 12 months’s finest image is topped. Ten nominees want to stroll away with the coveted Oscar for prime movie — and the sphere of contenders this 12 months is a diverse bunch, starting from quiet interval dramas to punchy summer time blockbusters and quirky indie favourites.

The place does every of the movies stand within the race for the very best image trophy? Al Jazeera breaks down the strengths and weaknesses that would resolve who wins Oscar glory.

Michelle Yeoh with a googly eye on her forehead
Michelle Yeoh stars in The whole lot All over the place All at As soon as [Allyson Riggs/Courtesy of A24]

The whole lot All over the place All at As soon as

A genre-defying absurdist masterpiece, the movie The whole lot All over the place All at As soon as was the darkish horse that turned a frontrunner in the very best image race.

The movie tells the story of Evelyn, an immigrant mom and laundromat proprietor whose life is falling aside. Not solely has she alienated her husband and daughter, however her enterprise threatens to crumble below the scrutiny of the Inner Income Service.

However that is no extraordinary household drama. As Evelyn’s life begins to fracture, so does the universe, drawing her right into a multi-dimensional motion comedy that’s half martial arts saga, half cinematic homage.

Why it might win: Who doesn’t love an underdog? This indie triumph was almost universally acclaimed — and gained a cult following regardless of an low season launch in March 2022.

Why it might lose: Academy voters are likely to lean conservative and this movie, with its off-kilter comedy, might fall brief in contrast with extra conventional choices.

Colin Farrell and Barry Keoghan sit on a stone fence overlooking the sea
Colin Farrell and Barry Keoghan star as characters combating loneliness in The Banshees of Inisherin [Jonathan Hession/Courtesy of Searchlight Pictures]

The Banshees of Inisherin

A darkish comedy about friendship, ambition and spiralling hatred, The Banshees of Inisherin reunites filmmaker Martin McDonagh with the odd couple from one in all his earlier hits, In Bruges: Colin Farrell and Brendan Gleeson.

As soon as once more, their on-screen relationship turns murderous. Farrell performs Pádraic, a farmer whose bland character begins to grate on Gleeson’s brooding musician Colm.

So Colm makes a drastic pronouncement: Their friendship is over. And if Pádraic makes an attempt to method him ever once more, Colm will lower off his personal fingers. Set in opposition to the backdrop of the Irish Civil Struggle, McDonagh paints a stark portrait of how even the closest mates can flip into bitter enemies.

Why it might win: The Academy has proven a style for McDonagh’s mordant humour, along with his earlier outing — 2017’s Three Billboards Outdoors Ebbing, Missouri — choosing up seven nominations and two wins.

Why it might lose: A quaint allegory set in rural Eire, this movie lacks the pizzazz of a few of its opponents and has confronted backlash for perpetuating Irish stereotypes.

Jerry Schilling, former manger for Elvis Presley, from back row left, director Baz Luhrmann and actor Austin Butler, from the film "Elvis," look on as members of the Presley family, from front row left, Harper Presley Lockwood, Lisa Marie Presley, Priscilla Presley, Riley Keough and Finley Presley Lockwood show their hands after placing them in cement during a ceremony in their honor on Tuesday, June 21, 2022, at the TCL Chinese Theatre in Los Angeles.
Director Baz Luhrmann (prime centre) and actor Austin Butler (prime proper) pose with relations and colleagues of the late singer Elvis Presley [File: Jordan Strauss/Invision and AP Photo]


A maestro of grand spectacle, director Baz Luhrmann has lengthy been drawn to the touchstones of Western tradition, adapting movies based mostly on Shakespeare, opera and the writings of F Scott Fitzgerald.

However for his newest outing, Luhrmann summons one of many greatest hitmakers of the twentieth century: the King of Rock and Roll, Elvis Presley.

Mixing fashionable influences with mid-century nostalgia, the biopic Elvis is an unconventional have a look at the connection Presley had along with his supervisor Colonel Tom Parker, performed by Oscar winner Tom Hanks. However it’s newcomer Austin Butler as Elvis who steals the present, with a hip-swinging tour de pressure.

Why it might win: Biopics are catnip for Oscar voters, and pairing a retro soundtrack with Luhrmann’s trademark visible fireworks might be a recipe for fulfillment.

Why it might lose: Luhrmann’s adrenaline-infused visible fashion can learn as shallow, and his portrait of Elvis boasts loads of rhythm and blues — however not a lot soul.

Cate Blanchett stars as Lydia Tár in director Todd Field's TÁR, a Focus Features release.
Cate Blanchett stars because the title character within the movie Tár [Courtesy of Focus Features]


She is a conductor on the prime of her craft, a veritable movie star on the planet of classical music, with talking engagements, a guide launch and a significant recording within the works.

However one thing is haunting the eponymous musician on the coronary heart of the movie Tár. And simply when her profession has reached its heights, a intercourse scandal will rob her of the factor she craves most: energy.

Cate Blanchett delivers a towering efficiency as Lydia Tár, a girl who has risen in a male-dominated subject, solely to develop into an abusive pressure in her personal proper. Author-director Todd Subject plumbs the depths of Tár’s psyche, delivering a portrait tinged with dread.

Why it might win: Blanchett is ferocious because the title character and Subject’s incisive psychological dramas have netted 14 Oscar nominations to this point. A win might lastly be within the offing.

Why it might lose: Tár is a movie bathed in shadows, brimming with unanswered questions — not your typical crowd-pleaser, in brief.

A man in a World War I uniform, covered in mud, lies on the ground as soldiers run behind him
Felix Kammerer as Paul in a scene from the movie All Quiet on the Western Entrance [Reiner Bajo/Netflix via AP]

All Quiet on the Western Entrance

The World Struggle I epic All Quiet on the Western Entrance heads to the Oscars on a triumphant word: It swept the British Academy Movie Awards (BAFTAs) with 5 wins, together with the trophy for finest image.

However the movie itself chronicles not triumph however defeat, seen from the mud-caked trenches of 1918 France. That’s the place 17-year-old Paul finds himself after enlisting within the German military along with his mates.

Paul’s patriotism, nonetheless, is quickly dampened by the cruel realities of conflict, in director Edward Berger’s gritty, claustrophobic adaptation of Erich Maria Remarque’s 1929 novel.

Why it might win: From Platoon to The Damage Locker to The Bridge on the River Kwai, conflict films have a historical past of successful the very best image class — and this one boasts a literary pedigree.

Why it might lose: Of all the very best image nominees this 12 months, this one is the arguably most conventional, which could dissuade Oscar voters seeking to distance themselves from the previous.

Rooney Mara stars as Ona, Claire Foy as Salome, Judith Ivey as Agata, Sheila McCarthy as Greta, Michelle McLeod as Mejal and Jessie Buckley as Mariche
From left: Rooney Mara, Claire Foy, Judith Ivey, Sheila McCarthy, Michelle McLeod and Jessie Buckley star as a neighborhood of ladies searching for consensus within the movie Girls Speaking [Michael Gibson/Orion Releasing LLC]

Girls Speaking

Girls Speaking is a movie as understated as its title — however within the dialogue that unfurls lies a depth of pathos and complexity, as a gaggle of Mennonite ladies confront the horrors of rape.

Based mostly on a 2018 novel that fictionalised real-life occasions, Girls Speaking chronicles a neighborhood at breaking level. The ladies have come to grasp that almost all of them have been sexually assaulted within the evening, whereas being stored unconscious with cattle tranquilliser.

Now they should resolve what to do about it. Actor-turned-director Sarah Polley assembles a star-studded forged — headlined by Claire Foy, Rooney Mara, Jessie Buckley and Oscar winner Frances McDormand — to discover the fallout for the remoted non secular neighborhood.

Why it might win: Girls Speaking is a poignant have a look at a well timed subject, and its largely feminine ensemble options a few of the prime expertise in cinema as we speak.

Why it might lose: Some cultural critics warn the momentum behind the #MeToo motion is waning, and different latest movies which have explicitly grappled with sexual assault — just like the 2022 drama She Stated — have been handed over on the Oscars.

A young boy films his mother around a campfire
Michelle Williams (centre) and Gabriel Labelle (proper) star in Steven Spielberg’s newest movie, The Fabelmans [Merie Weismiller Wallace/Universal Pictures and Amblin Entertainment via AP]

The Fabelmans

An establishment in US filmmaking, director Steven Spielberg unveils his most intimate mission but with The Fabelmans, a semi-autobiographical portrait of his childhood ardour for filmmaking — and his mother and father’ dissolving marriage.

Gabriel LaBelle stars as Sammy Fabelman, a youngster caught between his engineer father’s sensible ambitions and his pianist mom’s stifled artistry.

Impressed by the traditional cinema of Cecil B DeMille and John Ford, Sammy picks up a film digital camera and embarks on filmmaking endeavours of his personal. However the truths he discovers by the attention of the digital camera lens might fracture his household for good.

Why it might win: Spielberg’s fourth big-screen collaboration with Pulitzer-winning playwright Tony Kushner is a warm-hearted love letter to Hollywood cinema.

Why it might lose: Spielberg’s self-mythologising is gently paced and maybe a bit too neat, side-stepping a few of the heavier emotional stakes that accompany depictions of anti-Semitism and goals deferred.

A film still of Avatar: Way of Water, showing a character underwater swimming
Director James Cameron used underwater motion-capture know-how for his newest movie [Avatar: The Way of Water/Courtesy of 20th Century Studios]

Avatar: The Means of Water

Director James Cameron returns to the fictional moon of Pandora for Avatar: The Means of Water, the sequel to his 2009 environmental fantasy.

Set greater than 10 years later, the movie reunites with Jake Sully, a former US Marine whose consciousness now resides within the physique of a Na’vi, one of many moon’s tall blue indigenous inhabitants.

However the Na’vi stay below assault as people try and colonise Pandora and strip its sources. Sully and his household escape to Pandora’s shoreline the place they embark on a seafaring journey that owes a nod to Moby Dick — solely this time, the whale is the protagonist.

Why it might win: Cameron has lengthy embraced cutting-edge know-how, and his newest Avatar employs underwater motion-capture animation that lends crisp magnificence to the movie’s aquatic scenes.

Why it might lose: Although it was the top-grossing movie worldwide, the most recent Avatar suffers from signs widespread to many blockbusters: It’s lengthy, bloated with motion sequences and heavy-handed in its depiction of unhealthy guys versus mystical indigenous protagonists.

Erik Hemmendorff, from left, Dolly De Leon, Philippe Bobe, director Ruben Ostlund pose with the Palm d'Or Award for "Triangle of Sadness" during the photo call following the awards ceremony at the 75th international film festival, Cannes, southern France, Saturday, May 28, 2022.
From left: Erik Hemmendorff, Dolly De Leon, Philippe Bobe and director Ruben Östlund pose with the 2022 Palme d’Or on the Cannes Movie Competition [File: Vianney Le Caer/Invision and AP]

Triangle of Disappointment

Winner of the distinguished Palme d’Or on the 2022 Cannes Movie Competition, Triangle of Disappointment is a satire and castaway film rolled into one.

Author-director Ruben Östlund rallies a forged of nouveau-riche characters to board the movie’s doomed yacht. Among the many visitor listing are a pair of models-turned-influencers, an arms-dealing couple, a Russian oligarch and even a tech magnate.

However their world of simple pleasures will get upended when a string of disasters strikes the ship, capsizing the hierarchy they lengthy loved.

Why it might win: Triangle of Disappointment packs the identical satirical punch that made the 2019 South Korean movie Parasite a finest image winner, sharing its affinity for sophistication commentary, darkish humour and overflowing bathrooms.

Why it might lose: Regardless of its large win at Cannes, Triangle of Disappointment earned combined opinions, with some critics denouncing its lack of nuance and mental posturing.

Tom Cruise sits on the edge of a fighter plane, as Monica Barbaro sits inside
Monica Barbaro and Tom Cruise on the set of High Gun: Maverick [Scott Garfield/Courtesy of Paramount Pictures Corporation, Skydance and Jerry Bruckheimer Films]

High Gun: Maverick

An unapologetic throwback to the period of huge Nineteen Eighties motion films, High Gun: Maverick soared into theatres in Might 2022, simply in time for the summer time blockbuster season, and it got here away as the highest earner on the US field workplace final 12 months.

The engine, after all, behind the high-flying movie is Tom Cruise, who at age 60 stays a silver-screen draw.

On this sequel to 1986’s High Gun, Cruise returns as Pete “Maverick” Mitchell, a daredevil pilot whose disdain for authority has scuttled his navy profession. However new alternatives — and new challenges — emerge when Maverick is put in command of coaching the subsequent era of fighter pilots.

Why it might win: High Gun: Maverick is the quintessential popcorn movie, a breathless, stunt-filled extravaganza that resonates with a broad American viewers.

Why it might lose: Broad, splashy blockbusters not often take residence the Academy’s prime honour, and High Gun: Maverick may not play properly with audiences sceptical of its military-themed nostalgia.

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