{"id":4393,"date":"2026-07-17T16:45:00","date_gmt":"2026-07-17T16:45:00","guid":{"rendered":"https:\/\/relocationobserver.com\/?p=4393"},"modified":"2026-07-17T16:45:00","modified_gmt":"2026-07-17T16:45:00","slug":"christopher-nolans-oscar-odyssey-can-matt-damon-monsters-and-mythology-deliver-another-best-picture-statue","status":"publish","type":"post","link":"https:\/\/relocationobserver.com\/?p=4393","title":{"rendered":"Christopher Nolan\u2019s Oscar \u2018Odyssey\u2019: Can Matt Damon, Monsters and Mythology Deliver Another Best Picture Statue?"},"content":{"rendered":"
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\n\tThe last time the sword-and-sandal epic truly conquered the Oscars, Russell Crowe stood in the Colosseum and asked, \u201cAre you not entertained?\u201d<\/p>\n

Read more Iko Uwais and Albert Hughes Unite for Multi-Generational Crime Series \u2018Jakarta\u2019 at \u2018Blade Runner 2049\u2019 Outfit Alcon Entertainment (EXCLUSIVE)<\/a><\/p>\n

\n\tRidley Scott\u2019s 2001 blockbuster \u201cGladiator\u201d won best picture that season, briefly reminding Hollywood that ancient-world spectacle could still capture the Academy\u2019s imagination. Since then, the genre has largely retreated to the multiplex, where toga-clad warriors and mythological heroes have been treated as summer entertainment rather than awards-season contenders.<\/p>\n

\n\tBut Hollywood has a long history of embracing the sword-and-sandal epic when the scale is matched by prestige.<\/p>\n

\n\tBefore \u201cGladiator,\u201d William Wyler\u2019s \u201cBen-Hur\u201d dominated the 1959 Oscars, winning 11 awards \u2014 a record at the time \u2014 including best picture, director and actor for Charlton Heston. Earlier biblical and historical epics such as \u201cThe Ten Commandments\u201d (1956) and \u201cSpartacus\u201d (1960) demonstrated that spectacle could become a path to Oscar glory when paired with strong storytelling and cultural impact. Even Peter Jackson\u2019s \u201cThe Lord of the Rings: The Return of the King\u201d (2003), though rooted in fantasy rather than ancient history, proved that a massive mythological adventure could become an awards-season phenomenon, sweeping the ceremony.<\/p>\n

\n\tNow, Universal Pictures hopes for another genre revival with Christopher Nolan\u2018s newest cinematic endeavor.<\/p>\n

\n\t\u201cThe Odyssey,\u201d Nolan\u2019s adaptation of Homer\u2019s epic, has arrived to a wave of critical love, sitting at 96% on Rotten Tomatoes and 89 on Metacritic. It represents the rare summer tentpole with awards ambitions built into its foundation. It pairs one of Hollywood\u2019s most ambitious filmmakers with source material that has shaped Western storytelling for nearly three millennia, sprinkled with an ensemble stacked with some of the biggest stars on the planet and a technical approach designed to make the theatrical experience itself part of the conversation; you have to recognize the birth of a viable Oscar contender.<\/p>\n

\n\tInterestingly, it also arrives at the perfect moment for Nolan.<\/p>\n

\n\tFresh off \u201cOppenheimer\u201d (2024), which delivered him his first best director Oscar and a best picture victory (which he shared with his wife and longtime producing partner Emma Thomas) after decades as one of the industry\u2019s most celebrated yet repeatedly overlooked filmmakers, Nolan enters his next campaign with unprecedented Academy goodwill.<\/p>\n

\n\tIf anyone can convince voters that a three-hour epic about ancient mythology belongs in the best picture conversation, it is the filmmaker who proved that a dense, dialogue-heavy drama about the creation of the atomic bomb (and one that never even shows the bomb fall) could become a global phenomenon.<\/p>\n

\n\tFrom a craft perspective, Nolan\u2019s awards case is tailor-made for the Academy: The filmmaker who has spent his career defending the theatrical experience adapts one of literature\u2019s foundational myths on an enormous scale. In many ways, it also serves as his finest screenwriting effort since \u201cThe Prestige\u201d (2006), making interesting and thought-provoking changes from the original text (and no, that isn\u2019t simply casting Lupita Nyong\u2019o).\u00a0<\/p>\n

\n\tThe narrative for him this season will be simple: rinse and repeat the last one.<\/p>\n

\n\tNolan takes the oldest adventure story in Western literature and gives it the full prestige treatment. And then inside it, Matt Damon, an Oscar winner for screenwriting but never a statue for his acting, is at the forefront. Aside from \u201cGood Will Hunting\u201d (1997) and \u201cThe Talented Mr. Ripley\u201d (1999), the latter of which did not even earn him a nom, he has never made a stronger case for his acting to be recognized on the big stage.<\/p>\n

\n\t\u201cThe Odyssey\u201d marks Damon\u2019s first leading role for Nolan after supporting turns in \u201cInterstellar\u201d and \u201cOppenheimer.\u201d He carries the film as Odysseus, a legendary warrior defined less by triumph than by exhaustion, loss and the consequences of survival. His take on the legendary king of Ithaca is complex, physically visceral and dynamically charged. With festivals and early releases already making viable cases for Jaafar Jackson (\u201cMichael\u201d), Ryan Gosling (\u201cProject Hail Mary\u201d), Sebastian Stan (\u201cFjord\u201d) and John Turturro (\u201cThe Only Living Pickpocket in New York\u201d) \u2014 and with anticipated work still to come from Tom Cruise (\u201cDigger\u201d), Andrew Scott (\u201cElsinore\u201d), Pedro Pascal (\u201cBehemoth!\u201d), John Malkovich (\u201cWild Horse Nine\u201d) and Timoth\u00e9e Chalamet (\u201cDune: Part Three\u201d) \u2014 the best actor race is sure to be a blood-filled sprint to the finish.<\/p>\n

\n(Good. It should always be that way.)<\/em><\/p>\n

\n\tDamon has garnered five total Oscar nominations across several categories: \u201cGood Will Hunting\u201d in best actor and original screenplay, \u201cInvictus\u201d (2009) in supporting actor, \u201cThe Martian\u201d (2015) in best actor and \u201cManchester by the Sea\u201d (2016) in best picture as a producer. He won for writing \u201cGood Will Hunting\u201d with his best friend, Ben Affleck.<\/p>\n

\n\tThe Academy could feel he is due for another trip to the stage.<\/p>\n

\n\tNow comes the hard part. Which supporting players can, will and should enter their respective categories?<\/p>\n

\n\tIf social media and the early reviews are any indication, there is no consensus favorite among supporting actors or actresses, with the possible exception of Samantha Morton.<\/p>\n

\n\tA two-time Oscar nominee for \u201cSweet and Lowdown\u201d (1999) and \u201cIn America\u201d (2003), the British veteran steals the movie as Circe, the witch of the island of Aeaea, who commands less than 10 minutes of screen time midway through the film but may be the easiest call voters have to make. Think Judd Hirsch\u2019s one-scene wonder in \u201cThe Fabelmans\u201d (2022), which landed him a supporting actor nomination.<\/p>\n

\n\tIt is, yet again, another one-scene wonder from Morton. This move seems to have become her signature contribution lately. She turned brief, pointed appearances into standouts in films like the #MeToo drama \u201cShe Said\u201d and as Mary, the estranged ex-wife of Brendan Fraser\u2019s Oscar-winning lead in \u201cThe Whale,\u201d both in 2022. Perhaps this is the one that earns her a return to the ceremony, and it could be worthy enough to win, depending on how the race shakes out.<\/p>\n

\n\tOn paper, there are others worth considering, and that is exactly what will make orchestrating the campaign so difficult.<\/p>\n

\n\tTake Robert Pattinson, who is having a stacked year with the early A24 hit \u201cThe Drama,\u201d the still-to-be-released \u201cPrimetime\u201d (in which he portrays TV journalist Chris Hansen) and Denis Villeneuve\u2019s \u201cDune: Part Three.\u201d As Antinous, one of the suitors competing for Penelope\u2019s attention, Pattinson has the type of role Oscar voters traditionally embrace: A memorable antagonist, full of theatricality and danger, that lets an actor steal focus without carrying the emotional burden of the entire film.<\/p>\n

\n\tPattinson\u2019s suave villain feels cut from the same cloth as Alan Rickman\u2019s scene-stealing Sheriff of Nottingham in \u201cRobin Hood: Prince of Thieves\u201d (1991). The loudest role is often the easiest to coalesce around, especially for an actor who has had a big year. Look at Brad Pitt getting in for \u201cMoneyball\u201d the same year as \u201cThe Tree of Life,\u201d or Jessica Chastain getting in for \u201cThe Help\u201d when she had a half-dozen other performances to choose from.<\/p>\n

\n\tThe villain, or even the most unlikable character, can also be easy Oscar fodder, following nominees from large sprawling ensembles like Matt Dillon in \u201cCrash\u201d (2005) and Josh Brolin in \u201cMilk\u201d (2008). Sometimes it is simply an industry sentiment that says, \u201cIt\u2019s their time.\u201d Look at Sacha Baron Cohen from \u201cThe Trial of the Chicago 7\u201d (2020) or Delroy Lindo from \u201cSinners\u201d (2025).<\/p>\n

\n\tThat veteran sentiment is what I think could build a rallying cry around Latino legend John Leguizamo and his deeply moving turn as Eumaeus, Odysseus\u2019 faithful and blind swineherd. Despite an illustrious career spanning his acclaimed solo special \u201cFreak\u201d and memorable film roles in classics like \u201cCarlito\u2019s Way\u201d (1993) and \u201cRomeo + Juliet\u201d (1996), Academy recognition has eluded him. The closest he has come is his unforgettable turn as drag queen Chi-Chi Rodriguez in \u201cTo Wong Foo, Thanks for Everything! Julie Newmar\u201d (1995), which earned him a Golden Globe nom for supporting actor. I believe this could finally be his time.\u00a0<\/p>\n

\n\tElsewhere, it is a wait-and-see game for who can surprise as the season unfolds. Himesh Patel, Tom Holland, Jon Bernthal, Anne Hathaway and Charlize Theron all drew their share of shout-outs in early reactions. Zendaya, Lupita Nyong\u2019o, Elliot Page, Corey Hawkins and Benny Safdie are not in it enough. Still, ultimately, it will come down to who the Academy chooses to rally around.<\/p>\n

\n\tIt is also worth noting that aside from the three acting nominations for \u201cOppenheimer,\u201d which produced two wins (Cillian Murphy and Robert Downey Jr.), and Heath Ledger\u2019s posthumous Joker in \u201cThe Dark Knight\u201d (2008), acting nominations for Nolan films have been scarce even when critics and audiences believed they are deserved (see Guy Pearce in \u201cMemento,\u201d Leonardo DiCaprio in \u201cInception,\u201d Matthew McConaughey in \u201cInterstellar,\u201d among others).<\/p>\n

\n\tYet the inevitable Oscar campaign could carry a fact worth considering.<\/p>\n

\n\tNolan assumed the presidency of the Directors Guild of America in September 2025. He had already won the guild\u2019s feature-directing prize for \u201cOppenheimer\u201d in 2024, the same season he took his best director Oscar. The guild\u2019s line of presidents stretches back to King Vidor, who opened the run with the newly formed Screen Directors Guild in 1936. Although the guild\u2019s first honor was an Honorary Life Membership given to D.W. Griffith in 1938, the modern DGA Award began in 1948, with Joseph L. Mankiewicz taking the inaugural feature prize for \u201cA Letter to Three Wives\u201d and repeating the win at the 22nd Academy Awards. The DGA Award for feature directing carries the single best track record of any guild prize at forecasting the Oscars, both for best director and, by extension, best picture.<\/p>\n

\n\tNolan is, inarguably, the most famous president the guild has ever had, and he holds the post at the peak of his career. And while legends and Oscar winners like George Stevens, Robert Wise, Frank Capra and the aforementioned Mankiewicz all held the office, none of them mounted an Oscar campaign in the middle of their tenure.<\/p>\n

\n\tFrom a purely optics standpoint, how will the industry feel if Nolan wins the DGA Award while sitting in the guild\u2019s highest office? That is not to allege a conflict of interest. It is simply a dynamic worth considering. Does the presidency help or hurt him?<\/p>\n

\n\tThe optimistic interpretation is that Nolan\u2019s visibility among directors has never been higher, and that his leadership role only strengthens his relationship with the very voters who determine the DGA winner. A filmmaker at the height of his influence, delivering the year\u2019s most ambitious cinematic achievement, could become an irresistible narrative.<\/p>\n

\n\tThe counterargument is that award bodies can be cautious about appearing to reward their own \u201cking.\u201d The \u201coverdue\u201d factor that so often fuels guild victories has already been satisfied by Nolan\u2019s \u201cOppenheimer\u201d breakthrough.<\/p>\n

\n\tThere is little modern precedent to guide voters. Directors such as Frank Capra and Joseph L. Mankiewicz held leadership roles within the guild while continuing to make acclaimed films. Still, the modern DGA Award era presents a different landscape, and a far more media-savvy one.<\/p>\n

\n\tWhatever happens at the guild will likely reverberate throughout the Oscar race.<\/p>\n

\n\tBeneath the spectacle sits one of the most intriguing questions that has already popped up online: can Nolan tie or break the all-time Oscar nomination record set by Ryan Coogler\u2019s \u201cSinners\u201d last year, which picked up 16 nominations?<\/p>\n

\n\t\u201cThe Odyssey\u201d is a top-to-bottom artisan contender in nearly every craft category, which this time includes, for the first time in a Nolan film, an original song. Rapper Travis Scott, who also has a brief role in the film, recorded \u201cWhen I\u2019m Home,\u201d the end-credits anthem, which features production and vocals from James Blake and Ludwig G\u00f6ransson, with Nolan himself reportedly helping write the lyrics. Along with the casting award introduced last year, this brings 10 categories into play before the acting races even begin. Add what many expect to be a triple bid for Nolan in picture, director and adapted screenplay, and the tally reaches 13.<\/p>\n

\n\tFrom there, it comes down to the actors.\u00a0<\/p>\n

\n\tDamon is the safest bet, and a nomination for him would push the total to 14, tying the former all-time record shared by \u201cAll About Eve,\u201d \u201cTitanic\u201d and \u201cLa La Land.\u201d Beyond that, the supporting races are where records would fall. A double dip in one supporting category would move the film past that mark, and a double dip in both \u2014 five acting nominations in all \u2014 is the scenario that would challenge the \u201cSinners\u201d record outright.<\/p>\n

Read more \u2018Boys of Tommen\u2019 Finds Its Patrick Feely in Jamie Schneider, With James Craven Joining as Pierce O\u2019Neill (EXCLUSIVE)<\/a><\/p>\n

\n\tFor reference, only nine films have ever received five acting nominations: \u201cMrs. Miniver\u201d (1942), \u201cAll About Eve\u201d (1950), \u201cFrom Here to Eternity\u201d (1953), \u201cOn the Waterfront\u201d (1954), \u201cPeyton Place\u201d (1957), \u201cTom Jones\u201d (1963), \u201cBonnie and Clyde\u201d (1967), \u201cThe Godfather Part II\u201d (1974) and \u201cNetwork\u201d (1976).<\/p>\n

\n\tEven last year\u2019s best picture juggernaut, \u201cOne Battle After Another\u201d from Paul Thomas Anderson \u2014 which many expected to land five acting nominations \u2014 dropped one on nomination morning (lead actress hopeful Chase Infiniti).<\/p>\n

\n\t\u201cThe Odyssey\u201d does not have an obvious lead actress, unless Hathaway, who has five films this year, mounts a surprise lead submission. That leaves very little wiggle room for error. Heavy, male-dominated ensembles have pulled off strong showings before. \u201cThe Godfather\u201d (1972) landed best actor winner Marlon Brando, plus a supporting-actor trifecta of James Caan, Robert Duvall and Al Pacino. Its sequel, \u201cThe Godfather Part II\u201d (1974), did it again with three supporting bids, Robert De Niro (the winner), Michael V. Gazzo and Lee Strasberg, alongside best actor nominee Al Pacino.<\/p>\n

\n\tIn this scenario, \u201cThe Odyssey\u201d will undoubtedly be the one film everyone agrees on.<\/p>\n

\n\tConsider, too, that only two films have ever picked up double nominations in both supporting categories: \u201cPeyton Place\u201d (1957) and \u201cThe Last Picture Show\u201d (1971). Neither carried a best actor or actress nominee alongside that haul.<\/p>\n

\n\tCan it happen? Sure. But important for awards enthusiasts to remember\u2026 It\u2019s July<\/em>. And that is early for declarations that \u201cit\u2019s over\u201d and \u201cit\u2019s breaking records.\u201d<\/p>\n

\n\tIn addition, this could be an awards season with many populist titles vying for recognition, and the one most likely to feed from the same voter demographic is Denis Villeneuve\u2019s upcoming sci-fi \u201cDune: Part Three.\u201d<\/p>\n

\n\tThe central question surrounding \u201cThe Odyssey\u201d is not whether Nolan can create spectacle. He\u2019s done that. It\u2019s whether he can make the Academy revisit the same well they drank from so overwhelmingly only two years ago. The last two-time directing winner to also win best picture twice was Clint Eastwood with \u201cUnforgiven\u201d (1992) and \u201cMillion Dollar Baby\u201d (2004) \u2014 a 12-year gap. And before that was Milo\u0161 Forman with \u201cOne Flew Over the Cuckoo\u2019s Nest\u201d (1975) and \u201cAmadeus\u201d (1984) \u2014 a nine-year gap. Ten of the 21 filmmakers who have won best director more than once had their films also win best picture.<\/p>\n

\n\tIf \u201cThe Odyssey\u201d becomes the next great Oscar epic, it could carry Damon, one (or two) of its supporting players and Nolan himself into another awards-season triumph. And it could remind Hollywood of something Maximus already knew: the epic still has the power to entertain.<\/p>\n

\n\tUpcoming fall movies\u2026 it\u2019s your move, now.<\/p>\n

\n
\n
\n\t\tSee all Academy Awards predictions\t<\/h5>\n

\n
Variety Awards Circuit: Oscars<\/p>\n

<\/span><\/p>\n<\/div>\n<\/div>\n

\nOscars Predictions Tracking<\/span>
(July 17, 2026)<\/em> <\/h2>\n

\nBest Picture
<\/strong>\u201cThe Debut\u201d (A24)
\u201cDigger\u201d (Warner Bros.)
\u201cDune: Part Three\u201d (Warner Bros.)
\u201cFjord\u201d (Neon)
\u201cI Play Rocky\u201d (Amazon MGM Studios)
\u201cLa Bola Negra\u201d (Netflix)
\u201cMichael\u201d (Lionsgate)
\u201cThe Odyssey\u201d (Universal Pictures)
\u201cProject Hail Mary\u201d (Amazon MGM Studios)
\u201cWild Horse Nine\u201d (Searchlight Pictures)<\/p>\n

\nDirector<\/strong>
Javier Ambrossi and Javier Calvo, \u201cLa Bola Negra\u201d (Netflix)
Jesse Eisenberg, \u201cThe Debut\u201d (A24)
Martin McDonagh, \u201cWild Horse Nine\u201d (Searchlight Pictures)
Christopher Nolan, \u201cThe Odyssey\u201d (Universal Pictures)
Denis Villeneuve, \u201cDune: Part Three\u201d (Warner Bros.) <\/p>\n

\nActor<\/strong>
Tom Cruise, \u201cDigger\u201d (Warner Bros.)
Matt Damon, \u201cThe Odyssey\u201d (Universal Pictures)
Ryan Gosling, \u201cProject Hail Mary\u201d (Amazon MGM Studios)
John Malkovich, \u201cWild Horse Nine\u201d (Searchlight Pictures)
Andrew Scott, \u201cElisnore\u201d (Focus Features)<\/p>\n

\nActress<\/strong>
Sandra H\u00fcller, \u201cFatherland\u201d (Mubi)
Julianne Moore, \u201cThe Debut\u201d (A24)
Inde Navarette, \u201cObsession\u201d (Focus Features)
Renate Reinsve, \u201cFjord\u201d (Neon)
L\u00e9a Seydoux, \u201cGentle Monster\u201d (Netflix)<\/p>\n

\nSupporting Actor
<\/strong>Colman Domingo, \u201cMichael\u201d (Lionsgate)
Paul Giamatti, \u201cThe Debut\u201d (A24)
John Leguizamo, \u201cThe Odyssey\u201d (Universal Pictures)
Sam Rockwell, \u201cWild Horse Nine\u201d (Searchlight Pictures)
Jeremy Strong, \u201cThe Social Reckoning\u201d (Sony Pictures) <\/p>\n

\nSupporting Actress
<\/strong>Gemma Chan, \u201cJosephine\u201d (Sumerian Pictures)
Pen\u00e9lope Cruz, \u201cThe Invite\u201d (A24)
Pen\u00e9lope Cruz, \u201cLa Bola Negra\u201d (Netflix)
Mariana di Girolamo, \u201cWild Horse Nine\u201d (Searchlight Pictures)
Samantha Morton, \u201cThe Odyssey\u201d (Universal Pictures)<\/p>\n

\nOriginal Screenplay
<\/strong>\u201cThe Debut\u201d (A24) \u2014 Jesse Eisenberg
\u201cFjord\u201d (Neon) \u2014 Cristian Mungiu
\u201cJosephine\u201d (Sumerian Pictures) \u2014 Beth de Ara\u00fajo
\u201cWerwulf\u201d (Focus Features) \u2014 Robert Eggers and Sj\u00f3n
\u201cWild Horse Nine\u201d (Searchlight Pictures) \u2014 Martin McDonagh<\/p>\n

\nAdapted Screenplay
<\/strong>\u201cClarissa\u201d (Neon) \u2014 Chuko Esiri
\u201cDune: Part Three\u201d (Warner Bros.) \u2014 Jon Spaihts, Denis Villeneuve
\u201cThe Invite\u201d (A24) \u2014 Rashida Jones and Will McCormack
\u201cThe Odyssey\u201d (Universal Pictures) \u2014 Christopher Nolan
\u201cWildwood\u201d (Laika) \u2014 Chris Butler<\/p>\n

\nCasting<\/strong>
\u201cBeing Heumann\u201d (Apple Original Films)
\u201cClarissa\u201d (Neon)
\u201cDune: Part Three\u201d (Warner Bros.)
\u201cI Play Rocky\u201d (Amazon MGM Studios)
\u201cThe Odyssey\u201d (Universal Pictures)<\/p>\n

\nAnimated Feature
<\/strong>\u201cForgotten Island\u201d (DreamWorks Animation)
\u201cRay Gunn\u201d (Netflix)
\u201cShaun the Sheep: The Beast of Mossy Bottom\u201d (GKids)
\u201cToy Story 5\u201d (Pixar)
\u201cWildwood\u201d (Laika) <\/p>\n

\nProduction Design
<\/strong>\u201cDune: Part Three\u201d (Warner Bros.)
\u201cLa Bola Negra\u201d (Netflix)
\u201cThe Odyssey\u201d (Universal Pictures)
\u201cUntitled David Fincher\/Cliff Booth Movie\u201d (Netflix)
\u201cWerwulf\u201d (Focus Features)<\/p>\n

\nCinematography<\/strong>
\u201cDigger\u201d (Warner Bros.)
\u201cDune: Part Three\u201d (Warner Bros.)
\u201cThe Odyssey\u201d (Universal Pictures)
\u201cProject Hail Mary\u201d (Amazon MGM Studios)
\u201cWerwulf\u201d (Focus Features)<\/p>\n

\nCostume Design
<\/strong>\u201cDune: Part Three\u201d (Warner Bros.)
\u201cLa Bola Negra\u201d (Netflix)
\u201cI Love Boosters\u201d (Neon)
\u201cMichael\u201d (Lionsgate)
\u201cWerwulf\u201d (Focus Features)<\/p>\n

\nFilm Editing
<\/strong>\u201cThe Debut\u201d (A24)
\u201cDune: Part Three\u201d (Warner Bros.)
\u201cMichael\u201d (Lionsgate)
\u201cThe Odyssey\u201d (Universal Pictures)
\u201cWild Horse Nine\u201d (Searchlight Pictures)<\/p>\n

\nMakeup and Hairstyling
<\/strong>\u201cDigger\u201d (Warner Bros.)
\u201cDune: Part Three\u201d (Warner Bros.)
\u201cI Play Rocky\u201d (Amazon MGM Studios)
\u201cMichael\u201d (Lionsgate)
\u201cTenzing\u201d (Apple Original Films)<\/p>\n

\nSound<\/strong>
\u201cThe Debut\u201d (A24)
\u201cDune: Part Three\u201d (Warner Bros.)
\u201cMichael\u201d (Lionsgate)
\u201cThe Mosquito Bowl\u201d (Netflix)
\u201cThe Odyssey\u201d (Universal Pictures)<\/p>\n

\nVisual Effects
<\/strong>\u201cDune: Part Three\u201d (Warner Bros.)
\u201cGodzilla Minus Zero\u201d (Toho)
\u201cThe Odyssey\u201d (Universal Pictures)
\u201cProject Hail Mary\u201d (Amazon MGM Studios)
\u201cSpider-Man: Brand New Day\u201d (Sony Pictures)<\/p>\n

\nOriginal Score
<\/strong>\u201cThe Debut\u201d (A24)
\u201cDune: Part Three\u201d (Warner Bros.)
\u201cThe Odyssey\u201d (Universal Pictures)
\u201cWild Horse Nine\u201d (Searchlight Pictures)
\u201cWildwood\u201d (Laika)<\/p>\n

\nOriginal Song
<\/strong>\u201cBy Any Means\u201d (Paramount Pictures)
\u201cThe Debut\u201d (A24)
\u201cForgotten Island\u201d (DreamWorks Animation) \u2014 \u201cA Parallel World\u201d
\u201cThe Odyssey\u201d (Universal Pictures) \u2014 \u201cWhen I\u2019m Home\u201d
\u201cToy Story 5\u201d (Pixar) \u2014 \u201cI Knew It, I Knew You\u201d<\/p>\n

\nDocumentary Feature
<\/strong>\u201cAmerican Doctor\u201d (Watermelon Pictures)
\u201cThe History of Concrete\u201d (Magnolia Pictures)
\u201cMusk\u201d (Bleecker Street)
\u201cOnce Upon a Time in Harlem\u201d (Neon)
\u201cOne in a Million\u201d (PBS Documentary Films)<\/p>\n

\nInternational Feature
<\/strong>\u201cAll of a Sudden\u201d from Japan (Neon)
\u201cFatherland\u201d from Germany (Mubi)
\u201cFjord\u201d from Romania (Neon)
\u201cLa Bola Negra\u201d from Spain (Netflix)
\u201cMinotaur\u201d from Russia (Mubi) <\/p>\n

Read more Andy Burnham Set to Become U.K. Prime Minister as Former Manchester Mayor Named Labour Party Leader<\/a><\/p>\n

\n
\n
\n\t\tSee all Academy Awards predictions\t<\/h5>\n

\n
Variety Awards Circuit: Oscars<\/p>\n

<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Christopher Nolan’s “The Odyssey” Oscar road has begun. 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