2026 Oscar awards: Heading to the big screen

By Alfie Eville

Last week, I went over my Oscar predictions for “Best Casting,” “Adapted and Original Screenplay,” “Supporting Actress” and “Supporting Actor,” so if you missed those, be sure to check out that article. Here, I will be giving my predictions on some of the most prestigious awards of the night: “Cinematography,” “Best Actor,” “Best Actress,” “Director” and “Best Picture.” Below are my personal predictions on who I would like to see win. 

“Best Cinematography” will undoubtedly be awarded to “Train Dreams.” Every shot in this movie looks more beautiful than the last. You could pick a random clip, and it could be framed and hung above the mantle. The visual storytelling in this movie is astounding. For a movie featuring such little dialogue, the camera must be a key narrator, and it succeeded. Cinematographer Adolpho Veloso describes a sort of “memory feeling,” wherein he wants to evoke a nostalgic and emotional feeling in the viewer. The minimalist style he brings adds to this, and for the viewer, it can feel like you are seeing through the main character’s eyes. Almost the entire film was shot with natural lighting, which is so rare to see; I can count on one hand the number of times I have seen this done expertly. To me, this film slots in easily right next to “Barry Lyndon” for perfecting natural lighting. That is an extraordinary honor, and on top of that, I believe it deserves the award for “Best Cinematography.” 

The “Best Actor in a Leading Role” award should go to Timothée Chalamet for his work in “Marty Supreme.” A year ago at the Actor Awards, formerly called the Screen Actors Guild Awards, Chalamet proclaimed that he wanted to be one of the greats. His role in the “Dune” series was outstanding, but what he did here with his performance as Marty Mauser puts him one step closer to that upper echelon of acting. Chalamet is not quite one of the greats yet, but I have never respected his skills more. His screen presence in “Marty Supreme” is powerful, and I could not, for one second, take my eye off of him. Chalamet elevated the character, and without him, this film may not have received a “Best Picture” nomination. This really feels like Chalamet’s movie. He owns it, and for all intents and purposes, did exactly what he promised in last year’s SAG Awards speech. He pursued greatness, and found it with Marty Supreme. 

The “Best Actress in a Leading Role” award will go to actor Rose Byrne for her work in “If I Had Legs, I’d Kick You.” This film is entirely reliant on the performance from the lead actress. Outside of her work, there are not many characters on screen. The quality of the lead’s acting is the crux of this movie; it has the power to make or break this film. Byrne not only keeps up with, but thrives in this role. You can feel every moment of tension and anxiety just by looking into Byrne’s eyes, watching the way she is navigating and looking at the circumstances she finds herself in. For a role as emotionally heavy as this, having to go through the ringer of parental and family trauma, she so seamlessly conveys that to the audience. It is outstanding work, and I believe out of all the other actresses nominated, she deserves to win the Oscar. 

“Best Director,” will certainly go to Paul Thomas Anderson for his work on “One Battle After Another.” Anderson is one of my favorite directors, and it pains me that he still has not won the Oscar for “Best Director.” He has never even held an Oscar for any other category. Despite having several films like “There Will Be Blood,” “The Master” and “Magnolia” under his belt, none have brought him any awards from the Academy. I do not think he should win this award just because he is “due,” the recognition, despite that statement being incredibly true. I think Anderson should win because he managed to craft an all-time great film that will be studied for years to come. His blend of father-daughter drama with action, comedy and heavy political themes is something you can expect only from Anderson. In “Magnolia,” he weaves together nine subplots, seemingly unrelated, with several main characters in each. That balance and expertise is what Anderson brings to the table for “One Battle After Another,” with him choosing to focus on Leonardo DiCaprio and his relationship with his daughter, instead of leaning too heavily on the politics. This ultimately works because of the freedom Anderson had given his actors, often letting them act as they please, cultivating a collaborative effort. His methods worked, and the confidence that he brought to this two-decade long project should hopefully bring Anderson his first Oscar nod. 

Two weeks ago, I published my at-length review on “Marty Supreme,” so if you are interested in reading more about it, check that out and you will certainly understand why I predict it to win “Best Picture” at the Oscars. I saw this movie three times in the movie theaters and loved it every single time. It is a top 100 movie in my eyes and does everything right. Director Josh Safdie builds on what made his previous movies with his brother Benny so great. The elements of anxiety and thrilling moments are turned up to the max. Safdie crafted each scene to perfection, making large moments seem grander, horrific moments seem unbearable in a good way, and triumphant moments feel like your first breath of fresh air. “One Battle After Another” felt like the easiest “Best Picture” winner, but only because it came out two months before “Marty Supreme.” This is an all-around five out of five stars. A perfect score that compliments all the great scenes, a standout cast that I raved about already in my article last week, and a performance for the ages by Chalamet. This movie begs the question for me: what more can a movie really do? Not much. This is Safdie’s masterpiece, and it is a true epic of seismic proportions. 

Alfie Eville is a freshman history and secondary education major