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The Long Walk Oscars Submissions, Supporting Actor
TV & Streaming

The Long Walk Oscars Submissions, Supporting Actor

by jummy84
written by jummy84

Lionsgate is going with a smart awards strategy in hopes of becoming a dark horse Oscar contender.

Francis Lawrence’s “The Long Walk” will campaign its entire principal cast of boys — including Cooper Hoffman and David Jonsson — in the supporting acting categories across all major awards bodies, Variety has learned exclusively.

The Lionsgate dystopian drama, adapted by JT Mollner from Stephen King’s early novel, hinges on the emotional dynamics among a group of teenage competitors forced to walk until only one remains. The filmmakers believe the film’s power lies not in traditional leads but in the collective experience — a choice they think is best reflected by submitting the ensemble together.

Though Hoffman’s Raymond Garraty (No. 47) and Jonsson’s Peter McVries (No. 23) may appear to anchor the narrative, the film will place all nine boys in supporting categories across the Oscars, Golden Globes, Screen Actors Guild Awards, BAFTA and the Independent Spirit Awards. Judy Greer, who plays a pivotal adult figure in the story, will also be campaigned in supporting actress races.

Submitting the entire cast together highlights the filmmakers’ confidence in casting director Rich Delia, whose work stitching together a cohesive ensemble of emerging talent is expected to be a focal point of the campaign. The young actors deliver varied responses to the story’s brutal marathon.

With its ensemble-driven structure and bold category placements, “The Long Walk” joins the growing trend of awards hopefuls challenging traditional definitions of lead and supporting roles.

Along with the ensemble campaign, “The Long Walk” will compete in all major craft and above-the-line categories, including:

Best Picture: Roy Lee, Steven Schneider, Francis Lawrence, Cameron MacConomy

Best Director: Francis Lawrence

Adapted Screenplay: Screenplay by JT Mollner

Supporting Actor: Cooper Hoffman, David Jonsson, Garrett Wareing, Tut Nyuot, Charlie Plummer, Ben Wang

Supporting Actress: Judy Greer

Best Casting: Rich Delia

Cinematography: Jo Willems

Costume Design: Heather Neale

Film Editing: Mark Yoshikawa

Makeup and Hairstyling: Doug Morrow, Zinka Tuminski

Production Design: Nicolas Lepage; Set Decoration by Scott Rossell

Sound: Supervising sound editors Jeremy Perison, Thomas Jones; production sound mixer Jeffrey Murias; re-recording mixers Jeremy Perison, Carlos Sanches

Original Score: Jeremiah Fraites

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Wanda Sykes Says Her 2022 Oscars Hosting Gig Was "Overshadowed" by Will Smith's Slap: "It's Like I Was Watching From Home"
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Wanda Sykes Says Her 2022 Oscars Hosting Gig Was “Overshadowed” by Will Smith’s Slap: “It’s Like I Was Watching From Home”

by jummy84
written by jummy84

Wanda Sykes Says Her 2022 Oscars Hosting Gig Was “Overshadowed” by Will Smith’s Slap: “It’s Like I Was Watching From Home”

Wanda Sykes is reflecting on her experience hosting the 2022 Oscars — the same year Will Smith slapped Chris Rock live on stage — and says the infamous moment completely “overshadowed” what should have been a career highlight.

In a new interview w/ Variety, the comedian admitted that when people bring up that night, they rarely remember she was one of the evening’s hosts.

“It got overshadowed,” Sykes said. “People talk to me about that night without even mentioning, ‘Oh yeah, you hosted, right?’ Like I was in the audience or at home, watching TV. But I was there.”

Sykes, who co-hosted alongside Regina Hall and Amy Schumer, said that despite the chaos, Will Smith did reach out to her following his public apology to Chris Rock. However, she explained their conversation didn’t go far because she wasn’t feeling well.

“He reached out,” she shared, adding that she had “a bad cold” at the time and only replied via text.

The 2022 Oscars made global headlines when Smith walked onstage and slapped Rock after the comedian made a joke about Jada Pinkett Smith. Smith later won Best Actor that same night for King Richard and has since apologized multiple times.

Sykes, known for her sharp wit and decades-long comedy career, has previously said the incident left her “traumatized” — and now, she’s making it clear that the night she should’ve been celebrated as a host still feels like it wasn’t fully hers.


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2026 Oscars Predictions in Every Category
TV & Streaming

2026 Oscars Predictions in Every Category

by jummy84
written by jummy84

Variety Awards Circuit section is the home for all awards news and related content throughout the year, featuring the following: the official predictions for the upcoming Oscars, Emmys, Grammys and Tony Awards ceremonies, curated by Variety chief awards editor Clayton Davis. The prediction pages reflect the current standings in the race and do not reflect personal preferences for any individual contender. As other formal (and informal) polls suggest, competitions are fluid and subject to change based on buzz and events. Predictions are updated every Thursday.

RENTAL FAMILY, from left: Mari Yamamoto, Brendan Fraser, 2025. ph: James Lisle / © Searchlight Pictures / courtesy Everett Collection

©Searchlight Pictures/Courtesy Everett Collection

Oscars Commentary (Updated: Oct. 23, 2025): As the early days of the Oscar race continues to heat up, the fall festival circuit continues to spotlight quiet contenders and crowd-pleasers alike. At the Middleburg Film Festival, the Audience Award ended in a second consecutive year of a tie between two awards hopefuls: Focus Features’ “Hamnet,” Chloé Zhao’s intimate adaptation of Maggie O’Farrell’s novel, and Searchlight’s “Rental Family,” Hikari’s offbeat and emotionally resonant dramedy.

Meanwhile, AFI Fest opened with 20th Century Studios’ “Springsteen: Deliver Me From Nowhere,” Scott Cooper’s biopic chronicling the making of Nebraska, which opens nationwide this weekend.

And down south, the SCAD Savannah Film Festival kicks off Saturday with A24’s “Eternity,” a high-concept romance that premiered at Toronto and has its fair share of fans.

Updated predictions are below.

Top 3 projected Oscar nomination leaders (films): “One Battle After Another” and “Sinners” (13); “Hamnet” (11); “Wicked: For Good” (10)

Top 3 projected Oscar nomination leaders (studios): Warner Bros. (28); Netflix (16); Focus Features and Neon (15)

*** = PREDICTED WINNER
(All predicted nominees listed below are in alphabetical order)

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Luca Castellani: The Actor-Producer Whose Passion Project AMERICA Is Turning Heads on the Road to the Oscars
Hollywood

Luca Castellani: The Actor-Producer Whose Passion Project AMERICA Is Turning Heads on the Road to the Oscars

by jummy84
written by jummy84

After years of studying his craft, chasing auditions, and searching for the right story to tell, Luca Castellani decided to create his own opportunity. The result is AMERICA, a 22-minute live-action short that’s already being called one of the most emotionally resonant films of the year and a frontrunner in the Oscar race.

For Castellani, AMERICA is more than a role; it’s the culmination of years of discipline and artistic pursuit. “I’ve been training for this moment most of my life,” he says. “There comes a point where you stop waiting for permission to be seen, you build your own door.” He adds, “For years, I auditioned for roles that never came close to representing the kind of truth I wanted to tell. So I decided to write and produce something that did.”

That door opened when he crossed paths with acclaimed Brazilian filmmaker Aly Muritiba, whose reputation for deeply human storytelling (The Factory, Private Desert, City of God: The Series) has made him one of Latin America’s most respected auteurs. Together, they crafted AMERICA, a story about love, identity, and the quiet ache of belonging. “Aly and I met at exactly the right time,” says Castellani. “We both wanted to tell a story about human connection, something that transcends borders, languages, and politics.”

In the film, Castellani plays Tom, a Brazilian immigrant whose search for the American dream takes a heartbreaking turn. His performance is stripped of artifice, raw, unguarded, and deeply lived-in. There’s a moment late in the film, when Tom drives through the night beside his dying partner, softly singing an old song, where everything else falls away. Fear, disbelief, and devotion flicker across his face in silence. It’s acting that doesn’t perform emotion, it reveals it. “That scene broke me,” Luca admits. “It was the hardest thing I’ve ever done on screen. But I think in that pain, I found the truth of who Tom really was.”

Muritiba calls Luca’s approach “precise and fearless.” He adds, “Luca has that rare stillness that pulls you in. He understands that silence can speak louder than dialogue.”

When traditional casting paths didn’t yield the complex roles he sought, Castellani took control of his narrative. “Producing AMERICA was never about control,” he explains, “it was about responsibility, to the story, to the crew, and to the craft. I knew this was a film that deserved to exist.” He reflects, “I’ve always believed that if the story chooses you, you owe it everything. That’s how I felt about AMERICA, it wasn’t just a project, it was a calling.”

His producer’s touch ensured that the film remained intimate and authentic, assembling a world-class team that included cinematographer Andressa Cordeiro, editor Karen Akerman, and sound designer Pavel Iaroshenko. “We didn’t have a massive budget,” Luca recalls, “but what we had was heart. Every person on that set was there because they believed in what we were doing.” The result is a piece of cinema that feels handcrafted, each frame charged with purpose.

The collaboration between Castellani and Muritiba feels less like actor-director and more like two craftsmen building something sacred. “Aly works with empathy,” says Luca. “He trusts his actors completely. That freedom made it possible to go to darker, more honest places.” He continues, “He gives you space to fail, to try, to explore and in that space, you find the real magic.”

Muritiba echoes that respect: “Luca is not afraid of vulnerability. He leads by example; his passion elevates everyone around him.”

AMERICA has quietly become one of the most talked-about short films of the season, earning praise at private screenings in Los Angeles, London, and São Paulo. Critics have compared Castellani’s performance to the early breakthroughs of Gael García Bernal and Timothée Chalamet actors who radiate intensity without demanding attention. “It’s humbling to even be mentioned alongside those names,” says Luca. “But what matters to me is that people feel something real when they watch AMERICA. That’s all I ever wanted.”

With the film gaining traction in Academy circles, Castellani remains grounded. “The dream isn’t the award,” he says. “The dream is that the work reaches people, that it stirs something.” He pauses before adding, “But I won’t lie it feels good to know that all those years of hustling, of being told ‘no,’ led me to this moment.”

Yet, as AMERICA continues its journey through the awards circuit, it’s clear that Luca Castellani’s moment has arrived. The actor who once built his own opportunity is now standing on the threshold of a career that could redefine him, not just as a performer, but as a filmmaker with something vital to say. “This film changed me,” he reflects. “It reminded me why I fell in love with cinema in the first place because it has the power to make people see each other again.”

 

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It's One Battle After Another For Paul Thomas Anderson & Oscars: Peter Bart
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It’s One Battle After Another For Paul Thomas Anderson & Oscars: Peter Bart

by jummy84
written by jummy84

Nothing about Hollywood should surprise Paul Thomas Anderson. The 55-year-old, Los Angeles born-and-bred filmmaker has made most of his movies in or about his hometown — films praised or challenged by his critical community.

His darkly satiric new movie, aptly titled One Battle After Another, opened September 26 to rapturous, or merely stunned, reviews, only to confront a $34 million box office intrusion from Taylor Swift — one that may ironically enhance Anderson’s future Oscar forays.

Can The Official Release Party of a Showgirl upstage serious cinema?

Not exactly, since Anderson’s own $100 million-grossing release party isn’t precisely “serious” either. One Battle introduces audiences to a new film genre dubbed by one European critic as “surreally suicidal.” Anderson’s chaotic but intensely touching father-daughter saga is set against a cluttered canvas of revolutionaries, cultists and political hustlers. Some MAGA voices see the movie as an assault on the faithful warriors of the “hard right” and, after a slow start, they’re fueling up their attack across social media.

Warner Bros, the distributor, is watching edgily. While the filmmaker’s first nine movies were modestly budgeted — see Inherent Vice (2014) or Hard Eight (1996) — the $140 million One Battle, starring Leonardo DiCaprio, plunges Anderson into franchise-like economics. Its box office numbers inevitably have been compared to those of DiCaprio’s last epic, Killers of the Flower Moon, directed by Martin Scorsese.

That movie opened well, then dwindled, and was ultimately labeled a financial disappointment for Apple, its distributor. One Battle, from Warner Bros, isn’t cushioned by telephones or technology.

Further, while Scorsese’s early work shouted New York as its ethnic hub, Anderson films tend to be culturally ambiguous. One Battle, like his other recent movies, is based on a book by Thomas Pynchon, the James Joyce of private eye novelists. Another, Inherent Vice, starred Joaquin Phoenix in a 2014 Anderson-Pynchon L.A. whodunit.

Scorsese movies tend to hover in a Goodfellas-like prism while Anderson has ventured into the universe of porn (Boogie Nights, 1997), or design (Phantom Thread, 2017), or cults (The Master, 2012). Licorice Pizza (2021) represented a nostalgic glimpse of Anderson-centric turf — the San Fernando Valley. In contrast, There Will Be Blood (2007) starring Daniel Day-Lewis was an angry portrait of an exploitive developer based on Upton Sinclair’s classic 1926 novel Oil.

Some award gurus are betting that One Battle will be rewarded for its bold narrative and subtext. It certainly represents a mood shift from Swift’s record-setting romantic musings.

Anderson already owns shelves crowded with nomination plaques and film festival hardware, but the ultimate Oscar, Best Picture, has been more elusive; as though, for Academy voters, it represents one battle too many.

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homebound oscars 2026
Bollywood

Ishaan Khatter, Vishal Jethwa-Janhvi Kapoor’s Homebound Is India’s Official Entry For Oscars 2026- Deets Inside

by jummy84
written by jummy84

Director Neeraj Ghaywan’s ‘Homebound’ has been selected as India’s official entry for the 2026 Oscars in the Best International Feature Film category. Produced by Dharma Productions, the film features Ishaan Khatter, Vishal Jethwa and Janhvi Kapoor.

Homebound Is India’s Official Entry For Oscars 2026

Karan Johar shares, “We are deeply honoured and humbled that HOMEBOUND has been selected as India’s official entry to the Academy Awards… Neeraj Ghaywan’s labour of love is sure to find a home in a million hearts across the world.”

Neeraj Ghaywan adds, “I’m deeply honoured that Homebound has been chosen as India’s official entry to the Oscars. Rooted in the love for our land and our people, it carries the essence of the home we all share. To take our stories to the world and represent India at one of the biggest global stages for cinema is both humbling and a matter of pride, and for this I’m deeply grateful.”

Homebound At TIFF

Recently, Homebound was screened at the 50th Toronto International Film Festival (TIFF), where it received a standing ovation. The film was also the second runner-up in the 2025 International People’s Choice Award category at the festival.

About Homebound

Homebound is directed by Neeraj Ghaywan. It stars Janhvi, Ishaan, and Vishal in lead roles. It will be shown in the Un Certain Regard section at Cannes. The film is gaining international attention, especially because legendary filmmaker Martin Scorsese is the executive producer. The film is produced by Karan Johar, Adar Poonawalla, Apoorva Mehta, and Somen Mishra. The co-producers are Marijke de Souza and Melita Toscan Du Plantier. Neeraj’s last Cannes film, Masaan, was also shown in the same section back in 2015.

For more news and updates from the entertainment world, stay tuned to Bollywood Bubble.

Also Read: Homebound Trailer Out! Ishaan Khatter, Vishal Jethwa Starrer Addresses Religious, Caste Differences Amid Strong Friendship; Neeraj Ghaywan’s Directorial To Release On THIS Date- Watch

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Top 31 Must-Watch Bollywood Movies
Bollywood

Just In: Neeraj Ghaywan’s Homebound Selected As India’s Official Entry For The Oscars 2026

by jummy84
written by jummy84

Big news coming in is that director Neeraj Ghaywan’s film Homebound has been selected as India’s official entry for the Oscars 2026 in the Best International Feature category. Produced by Dharma Productions, the film features Ishaan Khatter, Vishal Jethwa and Janhvi Kapoor.

N Chandra, the chairperson of the selection committee, said in a press conference in Kolkata, “It was a very difficult choice. There were films that touched the lives of people. We were not judges but coaches. We were searching for players who have made their mark.

The film was selected by a 12-member selection committee.

Reacting to it, producer Karan Johar said, “We are deeply honoured and humbled that HOMEBOUND has been selected as India’s official entry to the Academy Awards… Neeraj Ghaywan’s labour of love is sure to a find a home in a million hearts across the world.”

Neeraj Ghaywan added, “I’m deeply honoured that Homebound has been chosen as India’s official entry to the Oscars. Rooted in the love for our land and our people, it carries the essence of the home we all share. To take our stories to the world and represent India at one of the biggest global stages for cinema is both humbling and a matter of pride, and for this I’m deeply grateful.”

Homebound follows the journey of two friends, Mohammad Shoaib (Ishaan Khatter) and Chandan Kumar (Vishal Jethwa), as they prepare for police recruitment exams. Shoaib, employed as an office boy in an MNC, experiences discrimination due to his religion, while Chandan, a Dalit, is subjected to caste-based insults. Both individuals believe that securing a government job, especially one involving a uniform, will enable them to gain the respect that society has not given them. Janhvi Kapoor is also featured in the film, playing a friend of the two, a young PhD aspirant who is also dealing with her own set of restrictions.

Homebound
The film premiered at Cannes and also won an award at the Toronto International Film Festival. The film is based on a true story that was originally recounted in a 2020 New York Times essay by Basharat Peer. This essay, titled “A Friendship, a Pandemic and a Death Beside the Highway,” tells the experiences of two migrant workers during the COVID-19 pandemic. The film marks Neeraj Ghaywan’s return to directing, a decade after his debut film, Masaan.

Homebound will be released in India on September 26.

Also Read: Ishaan Khatter and Vishal Jethwa’s Homebound Trailer Highlights Casteism Struggles

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Cannes Un Certain Regard Jury Winner 'A Poet' Reps Colombia at Oscars
TV & Streaming

Cannes Un Certain Regard Jury Winner ‘A Poet’ Reps Colombia at Oscars

by jummy84
written by jummy84

Colombia has picked Cannes Un Certain Regard jury prizewinner “A Poet” as its submission to the 98th Academy Awards international feature category.

Expressing his delight at the honor, helmer-scribe Simón Mesa Soto said: “Since its release in Colombian theatres, ‘A Poet’ has been beautifully received by audiences. Many Colombians have seen it and have connected with our poet. That’s what has excited us the most. Now, knowing that we will represent Colombia on the road to the Oscars is a huge honor and the beginning of a journey that we hope will open a new chapter for Colombian cinema.”

Described by Variety as a “hilarious fable about trying to lead a creative life and failing miserably at making ends meet,” the dark comedy follows failed poet Oscar Restrepo, played by non-pro Ubeimar Rios, whose life is falling apart. He finds a chance at redeeming himself when he meets a talented young poetess and takes her under his wing. But as he gets more involved in guiding her, he begins to wonder if poetry really is the best thing for her.

The film shifts tonally between comedy, drama, parody and tragedy – making it, according to Mesa Soto, his most personal work to date.

“Those films about writers or poets often seem made for the First World – I wanted to create a version of that from the perspective of Colombia, from this tropical, complex, and unique place,” he told Variety in an earlier interview.

“As I was finishing my first film, I felt overwhelmed and somewhat disillusioned with filmmaking and art – it’s so hard, especially in Colombia. I even considered quitting cinema altogether. I’m also a university professor, so I thought maybe I’d just focus on teaching. I imagined myself in 20 years as a kind of bohemian professor, living off his past, like some of the poet-like teachers I knew in Medellín – eccentric, stuck in a surreal world where they believed they were great artists. That image haunted me. I thought: what if I made a film about the worst version of myself in 20 years if I gave up on cinema?” he said.

“A Poet” was shot in Medellín with a combined cast of pros and non-pros that includes Rebeca Andrade, Guillermo Cardona, Allison Correa, Margarita Soto and Humberto Restrepo.

Colombia has been nominated for an Oscar once so far with “Ciro Guerra’s “Embrace of the Serpent” in 2015. Its next opportunity came with “Birds of Passage,” co-directed by Guerra and Cristina Gallego, which made the shortlist in 2018.

Juan Sarmiento G., Manuel Ruiz Montealegre and Mesa Soto serve as producers in the Colombia-Germany-Sweden co-production. Its co-producers are Katharina Bergfeld, David Herdies, Michael Krotkiewski, Heino Deckert and Kristina Börjeson.

Arthouse distributor 1-2 Special releases the film in North America while Luxbox handles international sales.

The Oscar international feature shortlist will be announced on Dec. 16 and the final five nominees will be announced on Jan. 22.

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Amy Poehler Slams Oscars for Rejecting Comedy Movies
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Amy Poehler Slams Oscars for Rejecting Comedy Movies

by jummy84
written by jummy84

Amy Poehler called out the Oscars on her “Good Hang” podcast for always ignoring comedy movies when it comes time to giving out awards. Poehler’s latest episode featured Olivia Colman as a guest as part of the latter’s press tour for the Searchlight Pictures comedy “The Roses.” Colman stars opposite Benedict Cumberbatch, who called in to the “Good Hang” episode to chat briefly with Poehler.

“If you can do comedy, you can do anything. I really do believe that,” Cumberbatch proclaimed.

“Of course. You don’t have to tell me, babe!” replied Poehler, who is a bonafide comedy icon thanks to “SNL,” “Parks and Recreation,” her stints hosting the Golden Globes with Tina Fey and more.

“Every single year at the Oscars, everybody [in comedy] gets blanked and all the serious people get up and accept and accept,” Poehler said. “It’s some hot bullshit! Because comedy is not easy. And I got to tell you, both you and Olivia can do both.”

While the Oscars have certainly been embracing more movies with comedic elements over the years, including best picture winners such as “Anora” and “Everything Everywhere All at Once,” it usually snubs traditional comedies that don’t have a dramatic bent to them. Greta Gerwig’s “Barbie” was a recent rare exception with eight nominations, but it did not win best picture and both Gerwig and star Margot Robbie were shockingly shut out of the best director and best actress races. Rian Johnson’s comedic “Knives Out” movies only got screenplay nominations, as did “Bridesmaids” all the way back at the 2012 Oscars.

As far as comedies in the upcoming 2025 Oscar race, the more dramatic-leaning ones such as Yorgos Lanthimos’ “Bugonia” and Noah Baumbach’s “Jay Kelly” are once again dominating the early Oscar buzz conversations. Traditional comedies such as “Friendship,” “Good Fortune” and “The Naked Gun” all earned strong reviews but are most likely long shots. Johnson is back with his third “Knives Out” movie, “Wake Up Dead Man,” but whether this franchise can break out into major categories like best picture or acting races remains to be seen.

Watch Colman’s full appearance on the “Good Hang” podcast in the video below.

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2026 Oscars Best Actress Predictions
TV & Streaming

2026 Oscars Best Actress Predictions

by jummy84
written by jummy84

Variety Awards Circuit section is the home for all awards news and related content throughout the year, featuring the following: the official predictions for the upcoming Oscars, Emmys, Grammys and Tony Awards ceremonies, curated by Variety senior awards editor Clayton Davis. The prediction pages reflect the current standings in the race and do not reflect personal preferences for any individual contender. As other formal (and informal) polls suggest, competitions are fluid and subject to change based on buzz and events. Predictions are updated every Thursday.

“Sentimental Value”
Courtesy of IMBD

Oscars Best Actress Commentary (Updated Sept. 12, 2025): We’re just getting started. The best actress race seems to be top-heavy in terms of contenders, but campaign selections will ultimately determine the best chances of recognition for a few of these ladies..

Leading the pack is Jessie Buckley’s powerhouse turn in Chloé Zhao’s adaptation of “Hamnet,” which stunned audiences at Telluride and Toronto, and seems to be the early favorite coming after her first nom for “The Lost Daughter” (2022). The Focus Features drama delivers heart-wrenching performances from Buckley, as well as co-star Paul Mescal. Zhao’s adaptation of Maggie O’Farrell’s novel is emerging as a major Oscar contender across multiple categories, and Buckley could be the key that keeps the campaign intact.

Close behind is Renate Reinsve in Joachim Trier’s “Sentimental Value,” which premiered as a major awards contender at Cannes before making stops at the fall festivals. The Norwegian drama serves as Trier’s follow-up to “The Worst Person in the World,” which won Reinsve best actress at Cannes and earned two Oscar nominations. Norway has already selected “Sentimental Value” as its official submission for international feature, and Neon is giving this a huge awards push, which offers Reinsve the needed momentum.

Cynthia Erivo remains an intriguing wildcard for Jon M. Chu’s musical sequel, “Wicked: For Good,” with her Elphaba still unseen but carrying considerable anticipation given her previous Oscar nomination and the musical’s built-in fan base.

And then two performances could face category placement questions that would impact their places in the race. Two-time Oscar winner Emma Stone’s revered work in Yorgos Lanthimos’ “Bugonia” solidified Focus Features’ dominance at Telluride. At the same time, Kate Hudson’s role in Craig Brewer’s “Song Sung Blue” will close AFI, potentially offering late-season momentum depending on whether campaigns target lead or supporting categories. Hudson is rumored to be a possible spoiler (especially after seeing the trailer), which could bring the former Oscar nominee her second nod after “Almost Famous” (2001).

We also have Sydney Sweeney on our radar, who could make a run for her biopic “Christy,” despite the mixed reviews. The same goes for Academy Award winner Julia Roberts, who’s the best part of her Luca Guadagnino drama “After the Hunt.” And never count out other A-listers like Jennifer Lawrence from Lynne Ramsay’s “Die, My Love” or Laura Dern, who may get a boost from Noah Baumbach’s “Jay Kelly,” and get a lift for her upcoming work in Bradley Cooper’s “Is This Thing On?” which is said to be a leading role.

Keep watching this space for more updates as it all unfolds.

NOTE: All titles, release dates, studios and listed category classifications are subject to change.

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