Daily Trojan predicts the Academy Awards


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A still from "Everything Everywhere All at Once"
Michelle Yeoh is nominated for Best Actress for her role as Evelyn Quan Wang in the A24 film “Everything Everywhere All at Once.” (Courtesy A24)

Sunday marks the 95th Academy Awards ceremony. In preparation for the event, a team of eight staffers at the Daily Trojan have made predictions for the following six categories: Best Picture, Best Director, Best Actor, Best Actress, Best Original Screenplay, Best Adapted Screenplay.

A graphic outlining the Daily Trojan staff's Oscar picks.

For Best Picture, the team was split between five movies: “Triangle of Sadness,” “Tár,” “Everything Everywhere All at Once,” “Top Gun: Maverick” and “The Banshees of Inisherin.” Here are the arguments for each. 

Kimberly Aguirre

Arts & Entertainment Editor

“Triangle of Sadness”

“Triangle of Sadness” is certainly not a favorite to win — Variety ranks it as second-least likely to take home the prize. The odds are even more against it when taking into account its Palme d’Or win — a great feat but bad sign when considering only two winners of the grand Cannes prize have gone on to achieve Best Picture glory. 

Still, the biting Swedish satire is deserving of the nomination and the award. There is intention behind every shot; each scene takes the film to an entirely new level. The movie leaves an impression, never scared to push the boundaries further. “Triangle of Sadness” has everything a Best Picture film should; it has the perfect cast, sharp writing, gorgeous cinematography and seasick-inducing levels of projectile vomit. 

An unlikely winner, “Triangle of Sadness” should not be written off just yet. If “The White Lotus” proves anything, it’s that out-of-touch rich people fighting is award-worthy content. Also, if the Academy wants to feign an image of class consciousness, this is the choice to make. 


Olivia Kuhn

Staff Writer

“Everything Everywhere All at Once”

Where “Top Gun: Maverick” was the lungs of the 2022 box office, “Everything Everywhere All at Once” was its heart. An underdog that was powerful from the start, “EEAAO” embodies all of the qualities of a film that truly deserves the Oscar. 

Unleashed into theaters last March, a release date that is typically out-of-bounds for awards consideration, and considering the unorthodox nature of the film overall, “EEAAO” is an unlikely Oscar darling. But the longevity of its awards campaign — driven passionately by film lovers and industry folk alike — is a testament to the film’s exceptional power that has shot it to the finish line. And now, looking back at its numerous wins throughout awards season, it is indisputable that “EEAAO” is the Best Picture frontrunner.

“EEAAO” is unparalleled in its originality, never trying to be anything but itself. Though maximalist in its filmmaking, it boils down to a simple tale about family, time and the “American Dream.” Perhaps the fates aligned to make the film the miracle it was, from Michelle Yeoh’s career-best performance alongside a powerhouse ensemble, to a timely immigrant tale that stands for the representation Hollywood needs. A win for “Everything Everywhere All at Once” would be a win for everyone.

Alexis Lara

Arts & Entertainment Editor

“Top Gun: Maverick” 

The iconic film “Top Gun” (1986) left a lasting mark on generations. It revived its dominant position in pop culture through the sequel “Top Gun: Maverick.” It was filled with breathtaking stunts and heartbreaking nostalgia for an action-packed two hours. Whether or not you even watched either installment, “Top Gun: Maverick” made its way into mainstream media and was a cultural phenomenon during the summer of 2022. 

“Top Gun: Maverick” will win Best Picture for its meteoric rise and ability to fill the shoes of the original “Top Gun.” The immediate adoration of Miles Teller as Rooster combined with the sentimentality of Tom Cruise’s reprisal of his iconic character, Maverick, make this movie an unbeatable work. 

Sanya Verma

Assistant A&E Editor

“The Banshees of Inisherin”

On a fictitious island nestled behind the craggy cliff sides of Ireland, Martin McDonagh’s dark tragicomedy, “The Banshees of Inisherin,” steals the audience’s breath away. An unlikely favorite on paper, with its heart-wrenching portrayal of a seemingly uncomplicated platonic breakup and a sharply funny tone that never quite decides how seriously to take this premise, the Los Angeles Times predicts “Banshees” will come out swinging at the upcoming Oscars. 

The Irish Civil War rages behind a magnificently cast Colin Farrell and Brendan Gleeson, and their decades-long friendship disintegrates as Colm Doherty (Gleeson) decides he doesn’t want the dull simplicity that Pádraic Súilleabháin’s (Farrell) company provides, preferring to spend his remaining time composing music that will outlast him. This conundrum is so painfully universal, as dumper or dumpee, leaving critics, members of the industry and moviegoers alike finding parts of themselves in the desolate farms and rolling fields of Inisherin.

With a boost from the BAFTAS and Kerry Condon’s gorgeous performance as Pádraic’s sensible sister who yearns afor more than her island can provide her, “Banshees” is definitely right up there with “EEAAO” and “Tár” as a Best Picture frontrunner.