The Top 19 Oscar Contenders of 2023 (So Far)

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Love stories, period dramas, the origins of sneakers and an explosion of multiverses are among the standout movies from the first half of 2023 that could have the legs to make it to next year’s Oscar ceremony.

As we enter the midpoint of the calendar year, we turn our attention to which films seem worthy of Academy recognition, based on critical acclaim and buzz surrounding contenders. The list considers films that have had theatrical releases and standouts in 19 of the 23 Oscar categories.

Read: Variety’s Awards Circuit for the latest Oscars predictions in all categories.

Of the top 10 highest-grossing films of 2023 so far, the animated spectacle “Spider-Man: Across the Spider-Verse” from Sony Pictures (currently sitting in the third spot with $319 million) has the best shot at reaching the coveted best picture lineup. Other massive money-earners from the list could have potential in various artisan categories such as makeup and hairstyling (“Guardians of the Galaxy Vol. 3”), sound (“John Wick: Chapter 4”), visual effects (“The Little Mermaid”) and original song (“The Super Mario Bros. Movie”).

Not that anyone should be surprised anymore, but the animated sector has been on fire for the past few years with innovative techniques and supreme stories. Aside from “Across the Spider-Verse” in all eligible categories (and that includes directing, adapted screenplay, production design, film editing, sound, visual effects and score), Netflix has a charmer on its hands with “Nimona,” which seems destined for one of the five animated feature slots if it can sustain attention for the next several months.

Pixar’s “Elemental” didn’t blow away the box office, but the reviews are nonetheless pretty solid. However, as the year continues with more releases, such as its Walt Disney Animation counterpart “Wish” or the upcoming “How Do You Live” from legend Hayao Miyazaki, it could move down the charts as more discoveries are made.

Another streaming contender is Ben Affleck’s highly-entertaining “Air” from Amazon Studios, in which he stars alongside acting pal Matt Damon. A solid box office (across more than 3,000 theaters) and very good notices from critics should keep it in the discussion for a while and it could be one of the safe and most straightforward picks among voters.

With the Academy announcing a focus on expanding theatrical releases beginning with the 2025 ceremony, all eyes are on the indie studios, with many rooting for their successes as they continue to find the best way to navigate this difficult time for theater chains. A24’s “Past Lives” from debut director Celine Song is the clear darling of the indie scene so far after its Sundance premiere. Now in theaters, it has the goods to be an all-around awards player at the end of the year.

Wes Anderson’s “Asteroid City” from Focus Features has had a strong start on its theatrical run. However, despite a starry cast (Tom Hanks, Scarlett Johansson, etc.), the auteur’s foray into a science fiction-esque theme seems to be falling in line with his previous effort “The French Dispatch” (2021), which was shut out of the Oscar race. I’d say “City” will contend for a tech nom or two, but not much else, but you can never really be sure.

We should give a nod of acknowledgment to movies that debuted at film festivals but are opening later in 2023, such as Cannes standouts like Martin Scorsese’s “Killers of the Flower Moon,” Jonathan Glazer’s “The Zone of Interest,” Todd Haynes’ “May December” and the Palme d’Or winning “Anatomy of a Fall” from Justine Triet — and Sundance players like — Sony Pictures Classics’ “A Little Prayer,” Netflix’s “Fair Play” and Apple’s “Flora and Son.” We’ll likely hear more about them in the coming months.

Read the list of probable contenders below in each of the 19 respective Oscar categories. Please note, to offer an opportunity to name more films, a movie is only mentioned once as a top highlight, even though it could be contending in several races.

** Not all listed crew members are official. The Academy ultimately decides on credits.

Read: Variety’s Awards Circuit for the latest Oscar predictions in all categories.

  • Documentary Feature: Little Richard: I Am Everything

    Studio: Magnolia Pictures

    Artisans: Lisa Cortés (director, producer), Robert Friedman, Liz Yale Marsh, Caryn Capotosto, Mike Powers, Gus Wenner, Jason Fine (producers)

    With the Television Academy now allowing films to submit for both Emmys and Oscars, we may see some hints at the Academy Awards Primetime TV ceremony, such as Apple’s “Still: A Michael J. Fox Movie” and Amazon’s “Judy Blume Forever.”

    Nonetheless, Lisa Cortés’ “Little Richard: I Am Everything” has already been buzzed about since the Sundance premiere. An Emmy-winning producer for Roger Ross Williams’ “The Apollo” (2019), the Afro-Latina has been making her marks behind the camera as a compelling director such as “All In: The Fight for Democracy” (2020), which the Academy’s Doc Branch shortlisted.

    Cortés’ dedication to the Black musician’s life and legacy is a testament to the impression he left behind. It could be a slam-dunk selection if Magnolia can get it in front of the right members.

    Also in the discussion: “Still: A Michael J. Fox Movie” (Apple Original Films); “Wild Life” (National Geographic)

  • Original Song: The Super Mario Bros Movie

    Studio: Illumination

    Artisans: “Peaches” by Jack Black, Aaron Horvath, Michael Jelenic, Eric Osmond, John Spiker

    The ultimate power ballad, the hilarious and utterly lovable “Peaches” from “The Super Mario Bros. Movie” might bring actor Jack Black his first Oscar nom. Also voicing the villainous Bowser, Black is also a credited songwriter, and after snubs for “The School of Rock” (2003) and “Bernie” (2012), who wouldn’t want to see him pouring his heart out on the Academy stage in March?

    Also in the discussion: “Gonna Be You” by Diane Warren from “80 for Brady” (Paramount Pictures); “The Scuttlebutt” by Lin-Manuel Miranda from “The Little Mermaid” (Walt Disney Pictures); “Fire Inside” by Diane Warren and Becky G from “Flamin’ Hot” (Searchlight Pictures)

  • Original Score: Indiana Jones and the Dial of Destiny

    Studio: Walt Disney Pictures

    Artisan: John Williams

    Legendary composer John Williams broke records again last year, becoming the oldest nominee ever for a competitive Oscar at 91. With 53 nominations and five statuettes, you have to pay attention when Williams has a score in the race. With Harrison Ford’s nostalgia factor in overdrive this summer (thank you “1923” and “Shrinking”), his return to the famous archaeologist role is sure to help keep Williams in the discussion. He could be a rubberstamp pick among his music colleagues and, likely, the best shot for any awards love.

    Also in the discussion: Kris Bowers, “Chevalier” (Searchlight Pictures); Thomas Newman, “Elemental” (Pixar); Daniel Pemberton, “Spider-Man: Across the Spider-Verse” (Sony Pictures)

  • Visual Effects: Cocaine Bear

    Studio: Universal Pictures

    Artisans: Matt Greig, Robin Hollander (visual effects supervisors)

    Could the VFX branch be cool enough to check the box for Elizabeth Banks’ bonkers horror-comedy flick about a bear that might have an addiction problem?

    Listen, if they can nominate “The Revenant” for clawing at Leonardo DiCaprio’s back, they can recognize the achievement of a bear jumping into a moving ambulance that also shows how well the animals can climb trees.

    Also in the discussion: “Dungeons & Dragons: Honor Among Thieves” (Paramount); “Guardians of the Galaxy Vol. 3” (Marvel Studios); “Transformers: Rise of the Beasts” (Paramount Pictures)

  • Sound: John Wick: Chapter 4

    Studio: Lionsgate

    Artisans: Casey Genton, Andy Koyama, Chris Whiteside (re-recording mixers), Luke Gibleon Nick Interlandi (sound effects editor)

    The Oscars have yet to embrace any of the “John Wick” outings and “Chapter 4” has the best shot of any of them with its aural designs of gunfire, screeching cars, and every other inanimate object that kills a bad guy or non-fatally injures Keanu Reeves.

    Also in the discussion: “Indiana Jones and the Dial of Destiny” (Walt Disney Pictures); “M3gan” (Universal Pictures); “Spider-Man: Across the Spider-Verse” (Sony Pictures)

  • Makeup and Hairstyling: Guardians of the Galaxy Vol. 3

    Studio: Marvel Studios

    Artisans: Alexei Dmitriew (makeup department head), Cassie Russek (hair department head)

    The first two installments of the “Guardians” entries landed one Oscar nom each — makeup and hairstyling for the first and visual effects for the second. With this third having a decent box office (not exactly a given for Marvel nowadays), the final outing showcasing Dave Bautista and Pom Klementieff’s standout transformations into Drax and Mantis and the sibling symmetry of Zoe Saldaña and Karen Gillam as Gamora and Nebula, might have the clearest pathway for recognition.

    Also in the discussion: “Ant-Man and the Wasp: Quantumania” (Marvel Studios); “Asteroid City” (Focus Features); “Infinity Pool” (Neon)

  • Film Editing: Creed III

    Studio: MGM

    Artisan: Tyler Nelson and Jessica Baclesse (film editors)

    Michael B. Jordan directs himself as Adonis Creed with his impressive debut behind the camera. Much of it works thanks to the film’s pacing provided by editors Tyler Nelson (“The Batman”) and Jessica Bacleese in her feature debut. The current controversy surrounding Jonathan Majors will be a hurdle to overcome, but we’ll see how it affects the film’s overall chances.

    Also in the discussion: “Air” (Amazon Studios); “Past Lives” (A24); “Spider-Man: Across the Spider-Verse” (Sony Pictures)

  • Costume Design: Are You There God? It’s Me, Margaret.

    Studio: Lionsgate

    Artisan: Ann Roth (costume designer)

    Costume designing legend Ann Roth has had two trips to the Oscar podium with “The English Patient” (1997) and “Ma Rainey’s Black Bottom” (2021). Writer and director Kelly Fremon Craig’s adaptation of Judy Blume’s famous coming-of-age story take place in the 1970s with luscious threads. If a Rachel McAdams or an adapted screenplay nom is too ambitious, this could be the spot to avoid a shutout.

    Also in the discussion: “Air” (Amazon Studios); “Asteroid City” (Focus Features); “Chevalier” (Searchlight Pictures)

  • Cinematography: Polite Society

    Studio: Focus Features

    Artisan: Ashley Connor

    We came incredibly close to seeing the first woman win the cinematography category last year with Mandy Walker (“Elvis”). With only two other women nominated in history — Ari Wegner (“The Power of the Dog”) and Rachel Morrison (“Mudbound”) — Ashley Connor’s camera work on the action-comedy about a Pakistani teenager dreaming of being a stuntwoman packs a punch.

    Best known for her frequent collaborations with Josephine Decker (“Madeline’s Madeline”), she makes equal magic with director Nida Manzoor that the Academy could be inspired to get behind (if the critics awards come through).

    Also in the discussion: “Air” (Amazon Studios); “Creed III” (MGM); “Past Lives” (A24)

  • Production Design: Asteroid City

    Studio: Focus Features

    Artisans: Adam Stockhausen (production designer), Kris Moran (set decorator)

    Wes Anderson has always been an acquired taste. You’re either down with what he’s doing or not. One aspect most cinephiles can agree on are the sets and designs of the 1950s created by Oscar winner Stockhausen (“The Grand Budapest Hotel”) and BAFTA-nominated Moran (“Joker”). That spot could be where Focus Features can find a bit of traction.

    Also in the discussion: “Air” (Amazon Studios); “Chevalier” (Searchlight Pictures); “Spider-Man: Across the Spider-Verse” (Sony Pictures)

  • Animated Feature: Nimona

    Studio: Netflix

    Artisans: Nick Bruno and Troy Quane (directors), Roy Lee, Karen Ann Ryan, Julie Zackary (producers)

    Netflix is fresh off taking home its first animated feature statuette with “Guillermo del Toro’s Pinocchio.” The streamer will likely be hoping for a back-to-back play with Nick Bruno and Troy Quane’s adaptation of the ND Stevenson graphic novel, which debuted at the Annecy International Film Festival. With inclusive themes, delightful humor and terrific voice performances from Chloë Grace Moretz and Oscar winner Riz Ahmed, it’s a safe bet to pop up on the circuit.

    Also in the discussion: “Elemental” (Pixar); “Spider-Man: Across the Spider-Verse” (Sony Pictures); “Suzume” (Crunchyroll)

  • Adapted Screenplay: BlackBerry

    Studio: IFC Films

    Written by: Matt Johnson, Matthew Miller (based on “Losing the Signal: The Untold Story Behind the Extraordinary Rise and Spectacular Fall of BlackBerry” by Jacquie McNish and Sean Silcoff)

    Aside from the surprisingly effective turns from actors Jay Baruchel and Glenn Howerton, the smartly humorous and entertaining look into creating a smarter cell phone is the cool cousin of “The Social Network” (2010) that’s still bubbling months after its release. IFC hasn’t had a major Oscar player since “Boyhood” (2014), but with the right push, perhaps it can go the way of sole screenplay players like “Margin Call” (2011) or “The Ides of March” (2011) — maybe more?

    Also in the discussion: “Are You There God? It’s Me, Margaret.” (Lionsgate) – Kelly Fremon Craig (based on the novel by Judy Blume); “How to Blow Up a Pipeline” (Neon) — Ariela Barer, Jordan Sjol, Daniel Goldhaber (based on the novel by Andreas Maim); “Spider-Man: Across the Spider-Verse” (Sony Pictures) – Phil Lord, Christopher Miller, Dave Callaham (based on characters created by Marvel Comics)

  • Original Screenplay: You Hurt My Feelings

    Studio: A24

    Written by: Nicole Holofcener

    Holofcener has been invited to the Oscar party before with her darkly witty “Can You Ever Forgive Me?” (2018). She could be in the mix again with her latest with Julia Louis-Dreyfus, who she worked with previously on the wonderful “Enough Said” (2013). The tender dramedy has put her and the star in the awards discussion, with a strong 95% on Rotten Tomatoes. Indie Spirits could come calling, but maybe more?

    Also in the discussion: “Air” (Amazon Studios) – Alex Convery; “Past Lives” (A24) – Celine Song; “Somewhere in Queens” (Roadside Attractions) – Ray Romano, Mark Stegemann

  • Supporting Actress: Annie Gonzalez

    Film: “Flamin’ Hot” (Searchlight Pictures)

    The Oscar trope of the supportive wife has been done dozens of times. However, Annie Gonzalez as Judy Montañez, the wife of Richard who works relentlessly to achieve the American dream, is fresh and spirited under the assured hand of debut feature director Eva Longoria. She’s a discovery in the film that should lead her to more opportunities onscreen. Please don’t forget her.

    Also in the discussion: Viola Davis (“Air”); Rachel McAdams, “Are You There God? It’s Me, Margaret.” (Lionsgate); Melissa McCarthy, “The Little Mermaid” (Walt Disney Pictures)

  • Supporting Actor: Chris Messina

    Film: “Air” (Amazon Studios)

    We’re not sure when Chris Messina’s Oscar moment will finally come, but the man comes alive as sports agent David Falk in Ben Affleck’s sports drama. Delivering his Long Island version of Tom Cruise’s Jerry Maguire, he’s a memorable character worthy of attention.

    Also in the discussion: Glenn Howerton, “BlackBerry” (IFC Films); John Magaro, “Past Lives” (A24); Ray Romano, “Somewhere in Queens” (Roadside Attractions);

  • Best Actress: Teyana Taylor

    Film: “A Thousand and One” (Focus Features)

    Each year there’s an indie darling that presents an acting showcase that will have admirers beating the drum as loudly as possible. That’s what we have with Teyana Taylor’s heart-wrenching portrait of Inez, a woman who kidnaps her son from the foster care system in New York City. She’s relentless in her pursuit of truth, and the film is expertly crafted thanks to debut writer and director A.V. Rockwell.

    Also in the discussion: Julia Louis-Dreyfus, “You Hurt My Feelings” (A24); Greta Lee, “Past Lives” (A24); Trace Lysette “Monica” (IFC Films)

  • Best Actor: Kelvin Harrison Jr

    Film: “Chevalier” (Searchlight Pictures)

    I’m not sure what more Kelvin Harrison Jr has to do to prove that he’s one of the most committed and exciting actors working right now, with a resume that includes “Luce,” “Waves” and now the period drama “Chevalier.” In the tenderly executed film, he knows the right chords to hit and convey the inner feelings of a tormented artist.

    Also in the discussion: Matt Damon, “Air” (Amazon Studios); Jesse Garcia; “Flamin’ Hot” (Searchlight Pictures); Joaquin Phoenix, “Beau is Afraid” (A24)

  • Director: Celine Song

    Film: “Past Lives” (A24)

    Seven women have been nominated for best director in history, and an eighth candidate is brewing. After the Oscars failed to nominate any women for directing last year, following two consecutive years of women winning the category, debut filmmaker Celine Song looks to put them back on track with her masterful “Past Lives.”

    The film is a tear-jerker that has the power to change your cinematic DNA, given its powerhouse ensemble of actors (Greta Lee and John Magaro, who will be in the hunt themselves). Watch out for this film to be the critical darling of the season, something A24 saw last year with its big winner, “Everything Everywhere All at Once.”

    Also in the discussion: Ben Affleck, “Air” (Amazon Studios); Michael B. Jordan, “Creed III” (MGM); Eva Longoria, “Flamin’ Hot” (Searchlight Pictures)

  • Best Picture - Spider-Man: Across the Spider-Verse

    Studio: Sony Pictures

    Producers: Avi Arad, Phil Lord, Christopher Miller, Amy Pascal, Christina Steinberg

    What more can we say regarding how freaking awesome this Sony Pictures sequel is? With groundbreaking imagery and an inclusive style, producers and co-writers Phil Lord and Chris Miller display why they’re among the best in the game. The box office returns are helping as well.

    Three animated movies have been nominated for best picture in Oscars history — “Beauty and the Beast” (1991), “Up” (2009) and “Toy Story 3” (2010) — all under the Walt Disney banner. “Across the Spider-Verse” is more than worthy to become the fourth.

    Also in the discussion: “Air” (Amazon Studios); “Are You There God? It’s Me, Margaret” (Lionsgate); “Past Lives” (A24)

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