As the annual Academy Awards approach, the Daily Trojan’s arts & entertainment staff voted on their picks to win the top categories at this year’s ceremony and shared their thoughts on the 10 nominees for 2023’s best picture. The Oscars will take place at the Dolby Theatre in Los Angeles March 10 at 4 p.m.

“American Fiction”

If “The Holdovers” (2023) is the warmest film of the year, then “American Fiction” (2023) is the coziest. Care is woven through every character and relationship within the fabric of this story, following dynamic performances by Jeffrey Wright, nominated for best actor, and scene-stealer Sterling K. Brown, nominated for best supporting actor.

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Warm, pensive and smart satire is hard to come by these days, but “American Fiction” is one of the finest films of 2023. The true underdog of the 2024 Oscars this year may not take home a single award, but deserves all of its acclaim. Cord Jefferson’s directorial debut receiving five Academy Award nominations — including best picture — is both a testament to his ability to entertain and a promising launchpad for his career to come.

— Dasean Volk, Arts & Entertainment Staff Writer

“Anatomy of a Fall”

“Anatomy of a Fall” (2023) follows the death of Sandra Voyter’s (Sandra Hüller) husband, Samuel Maleski (Samuel Theis), examining every aspect of their relationship when his plummet from the top of their house is brought to court. Dealing with heavy content such as suicide and infidelity, the film explores the anatomy of a marriage in a way that feels invasive and dehumanizing.

Winning the Golden Globe for best screenplay, “Anatomy of a Fall” has positioned itself as the front-runner for the best original screenplay category at the Academy Awards. From its morally gray protagonist to an absurd and funny trial, Justine Triet and Arthur Harari’s screenplay perfectly blends comedic moments in such a tragic situation that it reads like Voyter’s grief and pain is invisible to the court.

— Jefferson Hernandez Segovia, Arts & Entertainment Staff Writer

“Barbie”

One of the highest-grossing films of all time, “Barbie” (2023) was a hot pink Mattellian dreamscape of existentialism. Adorned with a star-studded cast, the satire boasts eight Oscar nominations. Ryan Gosling and USC alum America Ferrera are up for best supporting actor and actress, respectively. “Barbie” has also received recognition in a handful of technical categories, including costume design and production design.

Despite the film’s box office success, it seems likely the only award “Barbie” will win on Sunday is best original song, for Billie Eilish’s piano ballad “What Was I Made For?”: a fitting tribute to the movie’s candidly pensive messaging.

— Fiona Feingold, Arts & Entertainment Staff Writer

“The Holdovers”

The Oscar campaign of “The Holdovers” fits naturally with the surprising story at its core. In the film, a pretentious teacher, an angsty teenager and grieving mother defy the odds to share a beautiful holiday together.

Just as unexpected as their fictional tale are the five nominations “The Holdovers” has received, including star Paul Giamatti’s first Oscar nod in nearly 20 years. But the most inspiring element of this surprise hit is the brilliant screenplay from David Hemingson. After nearly 30 years in the television industry, his debut film screenplay is also up for an Academy Award.

— Sammy Bovitz, Assistant Arts & Entertainment Editor

“Killers of the Flower Moon”

When Martin Scorsese said Marvel movies weren’t cinema, he meant they weren’t this. “Killers of the Flower Moon” (2023) encapsulates the struggles, immorality and humanity of Leonardo DiCaprio’s Ernest Burkhart and Robert De Niro’s William Hale in such a way that makes Robert Downey Jr.’s Lewis Strauss look like an amateur.

The cinematography and worldbuilding were practical yet masterful in a way that modern movies rarely achieve. It’s a sleeper for some, given its three and a half hour runtime, but production design and actor in a supporting role could be easy sweeps for a film that does everything at the highest level.

— Sean Cheng, Assistant Arts & Entertainment Editor

“Maestro”

The culmination of a yearslong fascination with the American musician Leonard Bernstein, Bradley Cooper’s biopic “Maestro” (2023) captures the extraordinary breadth of Bernstein’s career as composer, conductor, pianist, pedagogue and celebrity. The film simultaneously attempts to reveal the lesser-known complexities of his personal life — especially regarding his marriage to Felicia Montealegre (Carey Mulligan) as a queer man.

The Netflix drama strikes several right chords, particularly in Mulligan’s stunning rendition of Montealegre and in Matthew Libatique’s beautiful cinematography. Yet Cooper’s performance as Bernstein — in addition to his work as director, producer and co-writer — left much to be desired for many commentators, frequently assailed as “Oscar-baiting.” Nevertheless, the film’s seven nominations — including for best actor — demonstrate a critical reception as varied as Bernstein’s life itself.

— Carson Lutz, Arts & Entertainment Staff Writer

“Oppenheimer”

Leading the 96th Academy Awards with the most nominations this year is “Oppenheimer” (2023), earning 13 nods including best picture and best director. Through impressive detail and a powerhouse performance by Cillian Murphy, the film explores the moral heft of atomic warfare and paints a complex and haunting portrait of the legacy of the “father of the atomic bomb,” J. Robert Oppenheimer (Murphy).

Christopher Nolan’s masterful direction, combined with Hoyte Van Hoytema’s stunning cinematography, creates an immersive experience that emerges as a symphony of devastation. “Oppenheimer” stands as a towering achievement in cinema, a thunderous accolade that demands a new standard of excellence in filmmaking. The film is expected to take home best picture, best director, best actor and possibly even best supporting actor at this Sunday’s Oscars ceremony.

— Dasean Volk, Arts & Entertainment Staff Writer

“Past Lives”

Despite the film’s initial facade of supposed childhood romance, “Past Lives” (2023) is not a movie about love. Rather, the film delves into the complex themes of fate and ever-changing identity. Nora (Greta Lee) faces the cruel ephemerality of human connection as she reunites with her best friend from her childhood in South Korea, Hae Sung (Teo Yoo), through social media.

Celine Song’s gentle vision directed her debut film “Past Lives” into nominations for best picture and best screenplay. The audience feels for every character, and Song handles each one with empathy and understanding; there are no villains in this film other than time, space and circumstance. Though “Past Lives” is not likely to win either of its nominated categories, the film’s nominations are highly deserved.

— Aubrie Cole, Arts & Entertainment Editor

“Poor Things”

When an eccentric scientist brings her body back to life, Bella (Emma Stone) must grow up once again as she embarks on a journey of self-discovery and love while honoring her newfound freedom as a woman in Victorian London.

The film is gorgeously shot and expertly crafted. Its fantastical nature is aided by its beautiful production design and costumes. The score is wholly unique; no other movie this year sounds quite like it. “Poor Things” (2023) takes many swings. It is a weird and magical gem of a film — a total satirical delight and a delicate and thoughtful look at humanity and empowerment. It is a very strong contender in all of the categories it has been nominated for. If “Oppenheimer” was not sweeping the guilds and awards shows, the chances of a best picture victory would have been much higher for the “Poor Things” team.

— Shouri Gomatham, Arts & Entertainment Staff Writer

“The Zone of Interest”

Set in 1943 Auschwitz, “The Zone of Interest” (2023) focuses on the lives of Rudolf Höss (Christian Friedel) and his family. This film presents Höss’ “dream life” within the confines of the German community inside the Auschwitz concentration camp.

Nominated for best picture, director, adapted screenplay, international feature film and sound, this film subtly delivers the brutality of history and addresses the capacity for human ignorance and evil. “The Zone of Interest” stands as a strong contender in a year where new perspectives of storytelling are forefronted. For its simple yet searing clarity and historical narrative, this film holds the highest chance for a best picture win behind “Oppenheimer.”

— Jina Umakanthan, Arts & Entertainment Staff Writer