10 2026 Movies That Are Officially Oscar Contenders

Published Nov 8, 2026, 11:56 PM EST

In over three years at Collider, senior author Jake has now penned over 4000 articles covering a wide range of TV and film for the resources, lists, utilities, news, and interview teams. Alongside interviewing stars such as Selin Hizli, Rose Ayling-Ellis, Harlan Coben, and Chelsea Peretti, Jake was lucky enough to visit the set of Aardman and Netflix's Wallace and Gromit: A Vengeance Most Fowl in 2024, getting the chance to chat with four-time Academy Award winner Nick Park and Merlin Crossingham. Jake has also worked for other publications, including Agents of Fandom. You can also hear Jake every week as the resident film and TV journalist on Track Radio. 

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This year, the record-breaking MCU movie Spider-Man: Brand New Day and Christopher Nolan's historical epic The Odyssey headlined the biggest summer of cinema since the COVID-19 pandemic. But the late summer nights are turning to cold winter evenings, and the attention of cinephiles has turned to the biggest event in the film calendar: the Academy Awards.

The glitz and glamor of Oscars night is coming into view, as the 99th ceremony readies to celebrate the best of the past twelve months of film. Scheduled to take place March 14, 2027, at the Dolby Theatre in Los Angeles, next year's Academy Awards will feature all the brightest stars in Hollywood today, with ambitious blockbusters, indie darlings, and even a documentary hoping to earn a coveted Best Picture nomination. But who are the current favorites? Here's a look at 10 2026 movies that are officially Oscar contenders.

'You Can See Everything'

Image via A24

The film on everyone's lips, A24's You Can See Everything, might finally make history as the first documentary to earn a Best Picture nomination in 100 years of Academy history. The documentary, co-directed by Nathan Fielder and Lance Oppenheim, explores the days leading up to the incarceration of the infamous Theranos founder, Elizabeth Holmes.

"The year's most original movie will make you question reality," wrote Collider's Samuel R. Murrian in one of countless glowing reviews for this mind-bending documentary. With its viral success helping rocket the film up the box office charts, and with the world stunned by the life-altering contents of this three-hour masterpiece, it's possible that You Can See Everything ​​​​​​won't just earn a Best Picture nomination; it could win the trophy.

'Project Hail Mary'

Image via Amazon MGM

One of the defining films of 2026, it would be difficult to find someone who hasn't yet seen Project Hail Mary. This epic Phil Lord and Christopher Miller-directed space story follows Ryan Gosling's Ryland Grace as he leads a one-man mission into the stars to try and save the universe. However, he isn't alone in the dense emptiness of space, as he is joined on his mission by an alien he names Rocky.

A favorite to earn plenty of nominations in technical categories, with lead puppeteer and voice actor James Ortiz potentially in the race for Best Supporting Actor, Project Hail Mary will most definitely make its mark on next year's Oscars. As one of the most critically and commercially successful films of 2026, come March 14, 2027, the world could watch Grace Rocky save Oscars.

'Obsession'

Image via Focus Features

Another of the most popular films of the year, Focus Features' Obsession will hope to follow in the footsteps of The Substance and Weapons by becoming this year's horror darling at the Academy Awards. Star Inde Navarrette seems most likely to take home Oscars gold, as she currently ranks as one of the favorites in the Best Actress category for a performance that Collider's Hannah Hunt called "one of the year's best" in her review.

A box office record-breaker, becoming the highest-grossing original horror movie of this century among many more titles, Obsession shocked the world as it overcame the latest Star Wars movie through sheer viral appeal. Curry Barker's breakout is nothing short of a horror masterpiece, as one of the most important visionaries in Hollywood's next era gets off to a flying start.

'The Invite'

Image via A24

Although some titles lead the charge during the Oscars race, others perform better under the radar, lurking beneath the competition before surprising cinephiles with several nominations. Right now, it seems like one of the best outside contenders for Academy recognition is Olivia Wilde's The Invite, a remake of the Spanish-language comedy The People Upstairs.

Unfolding like a great play, The Invite takes a simple premise, a single location, and four actors at the top of their game and transforms them into an utterly unmissable comedy. But this comedy isn't without its dramatic flair, with every twist and turn playing out like a hilariously realized thriller. Starring Seth Rogen, Edward Norton, and Penélope Cruz alongside Wilde, The Invite feels destined to earn recognition in writing and acting categories.

'La Bola Negra'

Image via Netflix

If, for the aforementioned Penélope Cruz, Oscar night doesn't equal gold for Wilde's The Invite, rest assured she stands a second chance as part of the ensemble of one of the bookies' favorites. Javier Calvo and Javier Ambrossi's La Bola Negra is a 155-minute drama inspired by the unfinished work of the same name that explores the connections between three gay men and the pain they endure.

Themes of love and loss in the queer community, as well as the erasure of queer identity, become ever more relevant each passing year, with these topics better represented at the Academy Awards in the process. La Bola Negra is the latest LGBTQIA+ story to receive the Oscars spotlight, as it is deemed a favorite to not just earn a Best Picture nomination, but to win the prize.

'Dune: Part Three'

Image via Warner Bros. Pictures

When forecasting the Oscars nominees for 2027, it's wise to look back at the historical voting of the often predictable Academy. Both 2021's Dune and 2022's Dune: Part Two received nominations in the Best Picture category, having combined to win eight trophies so far. So, with that in mind, the final installment in Denis Villeneuve's acclaimed trilogy seems destined to pick up a handful of nominations once again.

The ambitious attempt to turn the once-thought "unfilmable" Frank Herbert story into cinematic magic has already been the subject of endless praise from critics. But in his last installment, perhaps it's time for Villeneuve to win in the biggest categories? That's what many sci-fi fans will think, and as December 18 and the consequences of Paul Atreides' (Timothée Chalamet) power inch closer, whispers of a Dune: Part Three Best Picture bid grow.

COLLIDERInteractive

Ballot sealed

Movies/Academy Awards/Best Picture

Collider · Best Picture Which Oscar Best Picture
Is Your Perfect Movie? Five winners · ten questions · one envelope

Five Oscar Best Picture winners. Five completely different visions of what cinema can be and what it can do to you. One of them is the film made for the way your mind works, and ten questions will work out which. The nominees

2020Parasite

2023Everything Everywhere All at Once

2024Oppenheimer

2015Birdman

2008No Country for Old Men

Open the envelope

Reel01 / 10

Question 01 of 10TONE

01 What kind of film experience are you really after? The best movies do not just entertain. They leave something behind.

ASomething that pulls the rug out, that makes me think I am watching one kind of film and then reveals I am watching another entirely. BSomething overwhelming: funny, sad, absurd and genuinely moving, all at once. CSomething grand and weighty, a film that makes me feel the full scale of what I am watching. DSomething formally daring, a film that pushes what cinema can even do. ESomething lean and relentless, pure tension with no wasted frame.

← Back Keys 1 to 5 or A to E · Enter to advance

Next

Reel02 / 10

Question 02 of 10THEME

02 Which idea grabs you most in a film? Great films are driven by a central obsession. What is yours?

AClass, inequality, and what people are willing to do when desperation meets opportunity. BIdentity, family, and the chaos of holding your life together while everything falls apart. CGenius, moral responsibility, and the catastrophic weight of a decision you can never take back. DEgo, legacy, and the terror of becoming irrelevant while you are still alive to watch it happen. EEvil, chance, and whether moral order exists at all or we just tell ourselves it does.

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Next

Reel03 / 10

Question 03 of 10STRUCTURE

03 How do you like your story told? Form is content. The way a story is shaped changes what it means.

AGenre-twisting. I want it to start in one lane and migrate into something completely different. BMaximalist and genre-blending: comedy, action, drama and sci-fi in one ride. CEpic and non-linear, cutting between timelines to build a mosaic of cause and consequence. DA single unbroken flow. I want to feel like I am living it in real time with no cuts to safety. ESpare and precise, every scene doing exactly what it needs to do and nothing more.

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Next

Reel04 / 10

Question 04 of 10VILLAIN

04 What makes a truly great antagonist? The opposition defines the protagonist. What kind of opposition fascinates you?

AA system: invisible, structural, and almost impossible to fight because it has no single face. BThe self, and the ways we sabotage, abandon and fail the people we love most. CHistory, and the unstoppable momentum of events no single person can stop or redirect. DThe industry, the machinery of culture that chews up talent and spits out irrelevance. EPure, implacable evil, a force so certain of itself it becomes almost philosophical.

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Next

Reel05 / 10

Question 05 of 10ENDING

05 What do you want from a film's ending? The final note is the one that lingers. What do you want it to sound like?

AShock and inevitability, a conclusion that recontextualizes everything before it. BEarned emotion. I want to cry, laugh and feel hopeful, even if the world is a mess. CDevastation and grandeur, an ending that leaves me sitting in silence for a few minutes. DAmbiguity, something open enough that I am still turning it over days later. EBleakness, an honest refusal to pretend the world is tidier than it is.

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Reel06 / 10

Question 06 of 10WORLD

06 Which setting pulls you in most? Where a film takes place shapes everything: mood, stakes, what is even possible.

AA gleaming modern city with a hidden underside, beauty masking rot and wealth masking desperation. BA collapsing suburban life that opens onto something infinite, the multiverse inside one ordinary person. CThe corridors of power and science at a world-historical turning point, where decisions echo for decades. DThe grimy, alive chaos of New York and Hollywood, fame as both destination and trap. EVast, indifferent landscape, desert and highway where violence arrives without warning or reason.

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Reel07 / 10

Question 07 of 10CRAFT

07 What cinematic craft impresses you most? Every great film has a signature, the element that makes it unmistakable.

AProduction design and mise-en-scène, every frame composed to carry meaning beneath the surface. BEditing and tonal control, the ability to move between registers without losing the audience. CScore and sound design, music that becomes inseparable from the dread and awe of what you see. DCinematography as performance, the camera not recording events but taking part in them. ESilence and restraint, what is left unsaid doing more work than any dialogue could.

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Reel08 / 10

Question 08 of 10PROTAGONIST

08 What kind of main character do you root for? The protagonist is the lens. Who you follow says something about you.

ASomeone smart and resourceful who makes increasingly dangerous decisions under pressure. BSomeone overwhelmed and ordinary who turns out to be capable of something extraordinary. CA brilliant, tortured figure whose gifts and flaws cannot be separated from each other. DA self-destructive artist whose ego is both their superpower and their undoing. EA quiet, principled person trying to make sense of a world that has stopped making sense.

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Reel09 / 10

Question 09 of 10PACE

09 How do you feel about a film that takes its time? Pace is a choice. Some films sprint. Others let tension accumulate slowly, deliberately.

AI love a slow build when the payoff is going to be seismic. Patience for a devastating reveal. BGive me relentless momentum. I want to feel breathless and emotionally spent by the end. CEpic runtime does not scare me. If the material demands three hours, give me three hours. DI want it propulsive even when nothing is technically happening, restless energy throughout. EDeliberate and unhurried. I want dread to accumulate in the spaces between the action.

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Reel10 / 10

Question 10 of 10AFTERMATH

10 What do you want to feel walking out of the cinema? The best films leave a mark. What kind of mark do you want?

AUnsettled, like I have just seen something I cannot fully explain and cannot stop thinking about. BMoved and energized, like the film reminded me what matters and gave me something to hold onto. CHumbled, like I have been in the presence of something important and overwhelming. DExhilarated, like I have just watched cinema do something it has never quite done before. EHaunted, like a cold, quiet dread that stays with me for days.

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Reveal my film

The envelope, pleaseAnd the Oscar goes to

★ Best Picture, 2020 Parasite Bong Joon-ho, 2019 A film that hides its true intentions until the moment it is ready to reveal them.

You are drawn to films that operate on several levels at once, that begin in one genre and quietly, brilliantly migrate into another. Bong Joon-ho's Parasite is a film about class, desire and the architecture of inequality that manages to be darkly funny, deeply suspenseful and genuinely shocking across a single extraordinary running time. Your instinct is for cinema that rewards close attention and punishes assumptions, right up to its devastating final image. From the Collider file

• The first film not in the English language to win Best Picture, in the Academy's 92-year history to that point.
• It took four Oscars in one night: Picture, Director, Original Screenplay and International Feature.
• It won the Palme d'Or at Cannes in 2019 by a unanimous jury vote, the first Korean film to do so.
• The Park family's modernist house was not a location. It was built from scratch on an outdoor lot.

Reads between the lines Loves a reveal Attention to detail

★ Best Picture, 2023 Everything Everywhere All at Once Daniel Kwan and Daniel Scheinert, 2022 A film that refuses to choose between being entertaining and being meaningful.

You want it all, and this one gives you all of it. The Daniels' Everything Everywhere All at Once is among the most maximalist films ever made: action comedy, multiverse science fiction, family drama, existential crisis, and an emotional core that sneaks up on you in the middle of the chaos. You respond to ambition. Being overwhelmed is the design, not the side effect, because the feeling of being crushed by infinite possibility is exactly what the film is about. From the Collider file

• Seven Oscars, including three acting wins for Michelle Yeoh, Ke Huy Quan and Jamie Lee Curtis.
• Michelle Yeoh became the first Asian woman to win Best Actress.
• The visual effects were handled by a team of fewer than ten people, most of them self-taught.
• Ke Huy Quan had all but left acting for two decades before this role brought him back.

Wants everything Big swings Soft center

★ Best Picture, 2024 Oppenheimer Christopher Nolan, 2023 A film about the gap between what we can do and what we should do.

You are drawn to cinema on a grand scale, films that treat history not as a backdrop but as a force, then place their characters inside that force and watch what happens. Christopher Nolan's Oppenheimer sits inside one of the most consequential moments in human history and refuses to look away from it. You want your films to feel important without being self-important, earning their ambition through craft and the gravity of the subject. This one is enormous, complicated, and offers no easy comfort. From the Collider file

• Seven Oscars, including Nolan's first wins for directing and for Best Picture.
• Cillian Murphy and Robert Downey Jr. both took their first Academy Awards for it.
• Kodak engineered a black-and-white 65mm stock that did not previously exist so Nolan could shoot those sequences on IMAX.
• A three-hour, R-rated drama about theoretical physics that passed 950 million dollars worldwide.

Thinks in decades Scale and weight No easy comfort

★ Best Picture, 2015 Birdman Alejandro G. Iñárritu, 2014 A film doing something that probably should not be possible.

You are drawn to films that foreground their own construction, where the how of the filmmaking becomes part of the what it is about. Alejandro G. Iñárritu's Birdman, stitched to appear as one continuous take, is cinema examining itself through the cracked mirror of a fading actor's ego. You respond to formal daring. Michael Keaton's performance and Emmanuel Lubezki's restless camera make something unlike anything else: a film about creativity, relevance, self-destruction and never quite knowing whether your work means anything at all. From the Collider file

• Four Oscars, among them Best Picture and Best Director for Iñárritu.
• Emmanuel Lubezki's win here was the middle of three consecutive cinematography Oscars, after Gravity and before The Revenant.
• Antonio Sánchez's improvised drum score was ruled ineligible for the score category, which caused a minor uproar.
• The long-take illusion was built from a handful of extended shots joined by hidden cuts.

Formally daring Camera as character Ego and art

★ Best Picture, 2008 No Country for Old Men Joel and Ethan Coen, 2007 A film that treats dread as a form of meaning.

You are drawn to cinema that trusts silence, refuses to explain itself, and lets unease do the talking. The Coen Brothers' No Country for Old Men is about the arrival of a new kind of evil: implacable, arbitrary, and indifferent to the moral frameworks we use to make sense of things. It is one of the most tightly controlled films ever made, and that control is the source of the terror. You want your films to haunt you rather than comfort you, and you have no interest in a resolution that would be a lie. From the Collider file

• Four Oscars: Picture, Director, Adapted Screenplay, and Supporting Actor for Javier Bardem.
• Adapted from Cormac McCarthy's 2005 novel, with much of his dialogue carried over intact.
• Carter Burwell's score runs about sixteen minutes and is nearly inaudible by design.
• Roger Deakins was nominated twice that year, for this and The Assassination of Jesse James, and won for neither.

Trusts silence Dread over answers No tidy endings

Ballot tally · your top three

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Ballot counted byCOLLIDERCollider.com · The Awards Desk

'Elsinore'

Image via Focus Features

Andrew Scott has quietly proven to be one of the most consistent actors working today, submitting a fine selection of truly terrific performances over the past few years. Come Oscars night next year, it seems the Sherlock star will finally receive recognition as one of the favorites to take home the Best Actor prize as Ian Charleson in the stunning drama, Elsinore.

Directed by Simon Stone and written by Stephen Beresford, Elsinore looks likely to be the second Hamlet-related film in two years to take home an acting prize at the Oscars, following Jessie Buckley's deserved win for Hamnet. Also like Hamnet, Elsinore looks to be this year's biggest tearjerker, with Collider's Therese Lacson writing, "For god's sake, bring more than just one pack of tissues to the theater," in her review.

'Wild Horse Nine'

Image via Searchlight Pictures

In 2023, The Banshees of Inisherin was one of the year's biggest nominees, having earned nods in eight categories. Sadly, it won zero prizes, a fate that Irish filmmaker Martin McDonagh will be hoping to avoid with his latest Academy Award play, Wild Horse Nine. The film follows two CIA agents on a mission from Santiago to Easter Island in 1973, and is packed with all of McDonagh's typical dark, comedic wit.

As usual, a McDonagh movie looks set to take home nominations in writing categories, with star John Malkovich heavily tipped to take on the aforementioned Scott for Best Actor. Sam Rockwell, Steve Buscemi, Parker Posey, and the rest of the supporting cast deserve just as much credit for this uniquely encapsulating effort from an unstoppable filmmaker.

'Fjord'

Image via Neon

It's rare that any given year's Palme d'Or winner doesn't make an impact at the Academy Awards. In recent years, the likes of Bong Joon Ho's Parasite and Sean Baker's Anora have won both Cannes' biggest prize and the Best Picture trophy, so it's fair to assume that Cristian Mungiu's Fjord will also make its presence known come Oscar nominations day.

Mungiu's second Palme d'Or winner is arguably his most controversial film, touching on deeply nuanced topics and never offering an easy moral way out. But it is in this nuance that Fjord thrives, with Sebastian Stan and Renate Reinsve delivering perfectly detailed performances that capture both the best and worst of these troubled characters and their terrifying situation.

'The Odyssey'

Image via Universal Pictures

The front-runner to take home the Academy's biggest prize is Christopher Nolan's historical epic The Odyssey, dubbed an "unrivaled cinematic spectacle" in Joe Schmidt's review for Collider. This famous tale's star-studded retelling hasn't been without its detractors, but those with a say have made it clear their love for The Odyssey, placing it firmly at the #1 spot in many people's predictions.

In fact, The Odyssey could very well overtake Ryan Coogler's Sinners as the most nominated film of all time, considering its sure impact in both the major and craft categories. Nolan delivers his typically ambitious scale and scope to one of history's grandest stories, culminating in a final thirty minutes that are, without doubt, some of the most encapsulating cinema of the decade so far. Could The Odyssey sail to a record-breaking Oscars night? All will be revealed in a few months.