You could call it luck. Over the years, we’ve had a lot of luck picking the winners of the Academy Awards. Then again, after a while, maybe it’s more than luck. Last year, we were right on the money in all but a few categories. The same can be said going back throughout the history of this site. Are the Oscars easily predicted, or are we just that good? Every year we test the theory and every year the answer comes back with a resounding answer: we’re just that good. Which is why we’ve got confidence in our 2016 Oscar predictions.
Now that we’ve moved through the part of the intro where we express hubris, let’s move on to this year’s Oscar predictions. Many awards pundits are calling this one of the most unpredictable years on record. Over the course of the next 24 categories, we will attempt to prove them all wrong. Our crack staff of Neil Miller, Tomris Laffly and chief film critic Rob Hunter have broken down every single category in-depth, picking both our projected winner and who we think should win.
We begin with the short film awards and work our way toward Best Picture below.
Best Live Action Short Film
Tomris Laffly: My favorite in this category, Everything will be Okay, is the first film I am eliminating from the list of possible wins. Exceptions aside, steady slow burns don’t tend to do well here often times (remember Just Before Losing Everything in 2013, which was pretty much in the same realm.) Day One -which tells the story of an Afghan-American woman on the first day of her job in Afghanistan- and Shok, which tells the wartime story of a friendship torn apart in Kosovo- stand out immediately due to their memorable endings. I’ll go with Shok, as that is what my gut tells me currently. But watch for Day One or the humorous Ave Maria as potential dark horses.
Who Will Win: Shok
Who Should Win: Everything Will Be Okay
Best Animated Short Film
Tomris Laffly: Sanjay’s Super Team has the advantage of being a popular (and charming) Pixar movie that was probably seen by the majority of the voting base. The World of Tomorrow became a prominent and highbrow favorite among critics (Indiewire’s Eric Kohn and The Rolling Stone’s David Ehrlich are among them.) In all honesty, this is anyone’s guess just like the rest of the short categories. Ever since the voting of shorts was opened to the entire membership in 2013 (no longer limiting it to those who have attended the AMPAS-hosted screenings), emotional/easily-accessible ones became safer bets for a win. I know voters can (and in many cases, do) abstain if they haven’t seen all the nominees in these categories, but I will still go with the most moving nominee of this crop (and my personal favorite): the Chilean animation Bear Story. Not only it is lovely and melancholic at once, but it also stands as a timely parable for animal rights.
Who Will Win: Bear Story
Who Should Win: Bear Story OR The World of Tomorrow
Best Documentary Short Subject
Tomris Laffly: I find the Documentary Short category to be one of the toughest to predict this year. Not that shorts aren’t always difficult to handicap. Yet, this particular crop of incredibly devastating, mostly issue-based films makes it almost impossible to single one out as the “winner” that will viscerally and intellectually connect with the voters most. Will AMPAS respond to the story of a female body collector in Liberia, dangerously tasked with working amid the Ebola outbreak (with Olivia Wilde being one of the Executive Producers)? A young woman who survives an honor killing in Pakistan? The gut-wrenching story of a racist prosecution that took place in 1980s, told in the age of ‘Black Lives Matter’? A disabled Vietnamese teen’s artistic pursuits against all the odds? Or a fascinating look at the making of Claude Lanzmann’s Holocaust epic Shoah?
A case can easily be made for each one of them. One of the favorites of Oscar prognosticators –Claude Lanzmann: Spectres of the Shoah– includes several mind-boggling, instantly gripping stories. The other popular one –Body Team 12– is a harrowing account of the Ebola outbreak told from the POV of a courageous woman. I found A Girl In the River: The Price of Forgiveness to be the most captivating one emotionally, so I will go with that despite the fact that Sharmeen Obaid-Chinoy –its director/producer- has already won an Oscar in this category with Saving Face in 2012.
Who Will Win: A Girl In the River: The Price of Forgiveness
Who Should Win: Any one of them
Best Documentary Feature
Neil Miller: For the past few years, Best Documentary Feature has been one of the most predictable categories. All of the previous three winners – Searching for Sugar Man, 20 Feet from Stardom and Citizenfour – were considered to be frontrunners going into Oscar night. This year, there seems to be yet another clear frontrunner in Asif Kapadia’s Amy. Across the board, it’s been the most awarded documentary of the year. However, recent momentum seems to favor Joshua Oppenheimer’s The Look of Silence, which took home a pretty clean sweep at the Cinema Eye Awards in January. There’s also been a groundswell of social media support for The Look of Silence, which is being distributed by Film Twitter favorite Drafthouse Films. Does The Academy care about social media groundswells or recent momentum? Not really. Given the choice, they seem to prefer stories about the rigors of being famous over films like The Look of Silence, which give us a brutal, insightful look at genocide. Oppenheimer’s film will undoubtedly be looked upon by film historians as the more important documentary of 2015, but it’s not going to take home an Oscar.
Who Will Win: Amy
Who Should Win: The Look of Silence
Best Foreign Language Film
Rob Hunter: The cynic looks at this year’s nominees, and upon noticing that one of them is a film about the holocaust, picks it as the probable winner knowing that too many Academy voters won’t bother watching the actual subtitled films. The realist should do the same. Son of Saul won the Cannes Grand Prize, and while I’m in the minority on it most viewers regard it as a harrowing masterwork that finds the intimate in the horror of a concentration camp. I’d much rather see Mustang take the prize though in recognition of a powerfully relevant beauty that looks forward instead of back. Of the remaining nominees, only Embrace of the Serpent seems to have garnered much talk, but its subject matter and b&w presentation probably limit its votes.
Who Will Win: Son of Saul
Who Should Win: Mustang
Best Animated Feature
Neil Miller: It’s time for Pixar to get back in the game. They had previously won this category seven consecutive times, but have been shutout in the previous two years. Inside Out, with its clever construction and endless array of personality and vibrance, seems a likely candidate to bring Pixar back to the Oscar stage. That’s not to say that it will be a runaway. Duke Johnson and Charlie Kaufman’s Anomalisa is one of the most critically lauded films of the year. It’s a masterpiece about depression, and what it means to be an old white guy. Normally this is right in The Academy’s demographic wheelhouse, but Inside Out gives the Academy an opportunity to do what it’s always done in this category: hand Pixar an Oscar. It’s a little sad, though. Considering the fact that Shaun the Sheep is equally as charming as Inside Out, just with a less prominent awards campaign.
Who Will Win: Inside Out
Who Should Win: Shaun the Sheep
Best Visual Effects
Neil Miller: Least amount of nominees, hardest category to lock down. Welcome to the Best Visual Effects category. Traditional wisdom would indicate that a high profile late year release is usually the safe choice in this category. Think Life of Pi, Gravity and Interstellar in years past. All but one of the nominees in this year’s race fit the bill. The Martian, The Revenant and Star Wars: The Force Awakens were late in the year. And Ex Machina was a mid-year prestige film. If I were handed the duty of picking this one by myself, Ex Machina would rule the day. It’s not a flashy, effects driven spectacle, but the seamlessness in which Alex Garland’s team turned Alicia Vikander into the android Ava. Sadly, I don’t even get a vote.
A deeper dive into history suggests that Star Wars has an advantage here. The Original Trilogy won a clean three-peat in the late 70s and early 80s, while the much-maligned Prequels were shut out entirely (mostly by Lord of the Rings). With J.J. Abrams’ film returning us to a feeling of euphoria akin to the originals, perhaps it’s time for Star Wars to retake its place on the Oscar stage. It will have to avoid being mauled by the bear from The Revenant and survive the harsh landscapes of The Martian, but it seems poised to retake its long-abdicated throne.
Who Will Win: Star Wars: The Force Awakens
Who Should Win: Ex Machina
Best Sound Mixing
Neil Miller: With one recent exception – last year’s Whiplash – this is usually award that goes to a bigger budget piece of spectacle filmmaking. Those are the kinds of movies that pose the greatest challenge to a sound mixing team. They are the ones who must take the many layers of sound – score, dialogue, ambience and sound effects – and bring them together harmoniously. This is an award that has also traditionally been tied to Best Sound Editing. Clean sweeps of the two awards are not uncommon. This year, the two categories share four films – The Martian, The Revenant, Mad Max: Fury Road and Star Wars: The Force Awakens – all of which fit the traditional profile for a sound mixing winner. When we look at technical awards across the board, there’s no one movie that’s going to make a clean sweep.
As you’ll see, we like Mad Max for some of the more practical awards, while I just predicted Star Wars for Best Visual Effects. Sound feels like the place where The Revenant will make its mark. Considering the fact that it was shot out in the harsh elements (have you heard about how hard this movie was to make?!), it was likely a nightmare for its sound team. And the final product is astounding. Unless Star Wars comes roaring through to clean house on tech awards, this one is The Revenant’s to lose.
Who Will Win: The Revenant
Who Should Win: The Revenant
Best Sound Editing
Neil Miller: Remember that part above where I said that these two sound awards usually share a winner? That’s likely what’s going to happen again this year. And it’s going to happen for The Revenant. That said, this award is one that includes the design of sound. That’s where Star Wars: The Force Awakens really makes its mark. The only thing working against it is the fact that it’s working with such a vast library of existing sounds. That said, the Star Wars sound team has never won an Academy Award for any of the six movies. And they should, especially for this one, as sound was essential in bringing the world of Star Wars back to life. They should win the award for the design of BB-8’s bleeps and boops alone. Sadly, they probably won’t.
Who Will Win: The Revenant
Who Should Win: Star Wars: The Force Awakens
Best Production Design
Neil Miller: This is where we get into the most physical of the technical awards, where Mad Max: Fury Road is awaited. The other nominees this year include Bridge of Spies, which accurately brought 1960s Berlin to life; The Revenant, which put its audience right in the middle of the 19th century American frontier; The Danish Girl, which lavishly transported us to 1920s Denmark; and The Martian, which left us stranded on the desolate red rocks of Mars. All of these are striking achievements in their own way, each very deserving of their nomination. But the dust-covered wasteland of Fury Road sprang to life through the vision of production designer Colin Gibson and set decorator Lisa Thompson. Historical dramas are a dime a dozen for this category. And history shows us that the most likely winners are the ones with bold visions that are grounded in reality. Mad Max fits the bill perfectly.
Who Will Win: Mad Max: Fury Road
Who Should Win: Mad Max: Fury Road
Best Original Song
Tomris Laffly: I usually can’t muster up much enthusiasm for this category, except when we have an indisputably powerful nominee like “Glory” from Selma. This year, none of the nominees are particularly great examples of songs written for screen. Youth’s “Simple Song” would probably be the most artful choice, while Weeknd’s “Earned It” from Fifty Shades of Grey would be the edgiest. However, “Til It Happens To You” from The Hunting Ground seems to be the safest bet here. From the Bill Cosby scandal to various college campus rape reports, the last couple of years saw a much heated and prominent discussion around the issue of rape. Expect it to be under the national spotlight one more time on Oscar night when songwriters Lady Gaga and Diane Warren take the stage to accept their award.
Who Will Win: “Til It Happens To You” from The Hunting Ground
Who Should Win: “Simple Song” from Youth
Best Original Score
Rob Hunter: Ennio Morricone has scored somewhere around 300 to 400 films across multiple genres from westerns to dramas to giallos to comedies, but while he’s been nominated six times before he’s never won. Quentin Tarantino coaxed him out of semi-retirement for The Hateful Eight, and the resulting score is a triumph of mood, impact, and western sensibilities. Morricone should win – he deserves to win for this score and for the numerous others that failed to secure Academy recognition – but we can’t discount sneaky John Williams creeping around in the shadows. Williams’ last win was in 1994, but he’s had fourteen nominations since then. Can he ride the Star Wars wave to a sixth win? I’m not happy about it, but my guess is he can. The three other nominees – Bridge of Spies, Carol, Sicario – are all strong scores, but this is a battle between two legends.
Who Will Win: John Williams, Star Wars: The Force Awakens
Who Should Win: Ennio Morricone, The Hateful Eight
Best Makeup and Hairstyling
Neil Miller: What a weird little category this has become this year. One of the nominees, The 100-Year-Old Man Who Climbed Out the Window and Disappeared, is by far the most obscure Oscar nominee of the season. The Swedish film is a farce about a man who embarks on a wild journey following his 100th birthday. Like The Curious Case of Benjamin Button, it’s the sort of nominee that ends up in this category for a very specific kind of aging makeup done extraordinarily well. But it feels too one-note to win this year. And The Revenant is too subtle and natural. It’s the third nominee, Mad Max: Fury Road, in which the work of the makeup and hairstyling teams is on display in full-force. Across the board, Fury Road’s character designs are as wild and wonderful as the nonstop action. From pale-faced Warboys to the weathered mothers of the Greenplace, every detail in Fury Road is spectacularly realized. If it’s going to be the runaway winner in any one category, this will be the one.
Who Will Win: Mad Max: Fury Road
Who Should Win: Mad Max: Fury Road
Best Film Editing
Neil Miller: Like a number of the major categories this year, Film Editing feels like a real tossup. In one corner, you’ve got the traditional ensemble drama Spotlight, which presents editors with the challenge of taking place over a long period of time. In another, you’ve got the long, contemplative cuts in The Revenant squeezing every ounce of beauty possible out of the American frontier. In another, we have the frenetic and far-reaching spectacle of Star Wars: The Force Awakens. And in Mad Max: Fury Road, we have the chest-thumping pace of a movie that’s basically one crazy chase scene. In the end, the safest best is the median of all these other styles, found in The Big Short. It was cut with great energy, mixing together the performances of a large and charismatic ensemble cast, all done in a way that spanned a large amount of story time without wasting any runtime. While it would be great to see the hard-cutting, maniacal Mad Max win this award, The Big Short is the most well-rounded candidate.
Who Will Win: The Big Short
Who Should Win: Mad Max: Fury Road
Best Costume Design
Tomris Laffly: Richness, scale, scope and spectacle count most when it comes to this category. Looking at the list of nominees, conventional wisdom –and the period/fantasy heavy winners we have seen in the last decade- suggests Sandy Powell and her breathtaking, fantastical costumes for Cinderella would be the closest to the statue. But…not so fast. Powell is also nominated for the exquisite costumes of Carol, so she might predictably suffer from a split of votes. On the other hand, the costumes of Mad Max: Fury Road won the BAFTA (which has matched the Oscars in this category every time in the last decade except for 2006 and 2007). And in a recent development, Mad Max: Fury Road’s Jenny Beavan was also crowned with an “Excellent in Fantasy Film” accolade from the Costume Designers Guild over Cinderella. Powell has been my prediction until the guild spoke, but it is now time to get real.
Who Will Win: Mad Max: Fury Road
Who Should Win: I love Cinderella. But honestly, any of the five are equally deserving.
Best Cinematography
Rob Hunter: Emmanuel Lubezki won this award the past two years for his work on Gravity and Birdman, and it will surprise no one if he makes it three in a row for The Revenant. Whatever faults you might have with the movie the cinematography can’t be one of them. Lubezki’s camera captured absolutely stunning landscapes and intense closeups, and a handful of long one-takes impress both visually and technically. I’d like to see Roger Deakins take the prize for his equally sharp work on Sicario, and if there’s an upset it’s likely to be Deakins or John Seale for Mad Max: Fury Road. Both Carol and The Hateful Eight also earned nominations, but while both are attractive films – Ed Lachman’sCarol in particular – neither seem to have been building a consensus.
Who Will Win: Emmanuel Lubezki, The Revenant
Who Should Win: Roger Deakins, Sicario
Best Original Screenplay
Rob Hunter: If Spotlight (written by Josh Singer and Tom McCarthy) doesn’t win Best Picture – as it deserves – than the thought is this is the category where the movie will be rewarded, but I’m expecting it to take home both prizes. The script tells an incredibly important story and does so with suspense, humor, and humanity. We already know the ending, but it still manages to engage and increase heart rates in viewers even as it celebrates the value of journalism. The scripts for Ex Machina, Inside Out, and Straight Outta Compton all feel like epic long-shots for various reasons from genre to the fact that no animated film has ever won for Best Screenplay, but Bridge of Spies (by Matt Charman and the Coen brothers) is a possible upset thanks to the warmth it employs in telling its Cold War tale.
Who Will Win: Josh Singer and Tom McCarthy, Spotlight
Who Should Win: Josh Singer and Tom McCarthy, Spotlight
Best Adapted Screenplay
Rob Hunter: There’s a little bit of unpredictability in this category, but the smart money is on The Big Short, written by Adam McKay and Charles Randolph. It’s a smartly-constructed tale that uses creative methods, common sense, and humor to educate viewers on an issue that continues to reverberate in homes and bank accounts across America. It’s as relevant as it is funny, and the script is a major accomplishment in its ability to explain the things it does. Both Drew Goddard’s The Martian and Nick Hornby’s Brooklyn have an outside chance as the former could nab a populist vote while the latter appeals more to older Academy members. Emma Donaghue’s script forRoom has been far overshadowed by the film’s performances while Phyllis Nagy’s Carol appears DOA after the film failed to secure a Best Picture nod.
Who Will Win: Adam McKay and Charles Randolph, The Big Short
Who Should Win: Aaron Sorkin for Steve Jobs, but of the nominees it should be Adam McKay and Charles Randolph for The Big Short
Best Supporting Actress
Tomris Laffly: Has there been a more “it” It Girl in Hollywood this year than the exceptionally talented Swedish actress Alicia Vikander, the star of both The Danish Girl (in which she was more memorable than Eddie Redmayne, if you ask me) and the sleeper sci-fi hit Ex-Machina? Despite the slightly overblown (but not baseless) “category fraud controversy”, she landed a Supporting Actress nomination with her performance in The Danish Girl (in which she was actually a lead), and I believe she will be collecting her trophy on Oscar night, thanks in large part to not being pushed as a lead. Yes, Kate Winslet won both the Golden Globe and BAFTA for her performance in Steve Jobs, and her double victory seemingly makes this category a bit tough to predict. BUT – it’s important to note both the HFPA and the British Academy have nominated Alicia Vikander in the lead role for The Danish Girl, which gave Kate Winslet (another deserving name) an advantage in both races. Yet on Oscar night, I predict to see the SAG winner Vikander with a statue.
Who Will Win: Alicia Vikander
Who Should Win: Rooney Mara
Best Supporting Actor
Tomris Laffly: Sylvester Stallone is widely predicted to win here, and he is whom I’m betting my money on as well. But note that he is not without challengers. Christian Bale in The Big Short and Mark Ruffalo in Spotlight could both be likely names in films that are broadly loved by The Academy. Plus, Mark Rylance –an early favorite in the Supporting Actor race- just won a BAFTA (note that Stallone was not nominated there). Still, I will go with the safest bet here. I don’t see AMPAS passing up a chance to see Rocky Balboa back on the stage.
Who Will Win: Sylvester Stallone
Who Should Win: Mark Ruffalo
Best Actress
Rob Hunter: Like the Best Actor race, the award for Best Actress seems predetermined in one person’s favor. Brie Larson gives a multi-layered performance in Room as a woman forced by circumstance to feign emotions for the sake of her son, and it’s a highly memorable turn that’s already won her multiple Best Actress honors including ones from Critics’ Choice, BAFTA, and SAG. The momentum is hers.
Cate Blanchett (Carol) and Jennifer Lawrence (Joy) are no strangers to nominations or awards, and at least one of them is deserving of a nom here, but neither have a real shot at the prize. The other two though are possible wild cards. Saoirse Ronan shines with her lovely and sweet turn as an Irish immigrant in Brooklyn discovering love and the power of home, while Charlotte Rampling portrays a woman at the other end of life in 45 Years. Rampling may have hurt her chances with her idiotic comments on Hollywood diversity, but the award is for the performance – not the performer. She gives a restrained performance here that conveys love, pain, hope, and doubt with a quiet power, but it’s most likely not going to be powerful enough to stop the juggernaut that is Brie Larson.
Who Will Win: Brie Larson
Who Should Win: Charlotte Rampling
Best Actor
Rob Hunter: There are more than a few awards this year that truly feel up in the air, but the Best Actor race is not one of them. Leonardo DiCaprio is as close to a lock as you can find at the Oscars. Sure everyone’s cracking jokes about his desperation, and there’s even a phone game about his race for the Oscar, but the momentum is tangibly in his favor this year for his turn in The Revenant. He speaks fewer lines in the film than any of his competitors do in theirs, but he gives a tremendously visceral performance through grunts, expressions, and pure physicality. He deserved the award for The Wolf of Wall Street, and the Academy will make up for that sleight here.
The other nominees don’t stand a chance, but at least one of them deserve it. Michael Fassbender’s turn in Steve Jobs is a living, breathing thing of beauty as he takes Aaron Sorkin’s already fast-moving script and just runs with it. He perfectly blends together anger, indifference, insight, and terrific comedic delivery into a mesmerizing performance. Bryan Cranston’s Trumbo is fine, and Matt Damon’s The Martian is fun, but neither feel weighty. Eddie Redmayne’s The Danish Girl has the opposite problem as he’s once again trying too damn hard. None of them need bother writing an acceptance speech this year.
Who Will Win: Leonardo DiCaprio
Who Should Win: Michael Fassbender
Best Director
Rob Hunter: Divisive films are commonplace in the annual Oscar race, but Alejandro G. Iñárritu’s The Revenant has approached near mythical status as a front-runner that people just can’t seem to hate on enough. He didn’t help matters with all of his talk about just how difficult of a production it was, but none of that chatter has anything to do with the film and his directing achievements. The film has issues with the script and Tom Hardy’s performance, but Iñárritu’s direction shows a sure hand, technical brilliance, and an eye for beauty. He also seems on track to accomplish what Steven Spielberg, Clint Eastwood, and Martin Scorsese couldn’t – direct Leonardo DiCaprio to a Best Actor win. If nothing else, trust math – the DGA award has successfully predicted the Oscar in all but seven of the last 68 years, and this year they gave it to Iñárritu.
Of the other nominees only two pose a real threat. Tom McCarthy and Lenny Abrahamson are not those two (although McCarthy did direct the year’s best film.) Instead, Iñárritu’s competition comes down to Adam McKay and George Miller. McKay’s The Big Short has been gaining steam, but the most admirable element there is the script. Miller’s accomplishment as director appears far more visible and deserving of praise. His advanced age and the sheer effort he put into Mad Max: Fury Road across several years earn him well-deserved respect, but the end product speaks for itself as a massive and massively entertaining achievement held together by his guiding hand and talent. In the end though that entertainment value will only bite Miller on the ass as voters instead choose to award a “more serious” filmmaker’s adventure film.
Who Will Win: Alejandro G. Iñárritu, The Revenant
Who Should Win: Paolo Sorrentino for Youth, but of the nominees it should be George Miller for Mad Max: Fury Road
Best Picture
Tomris Laffly: You have probably heard and read in many places that this year’s Best Picture race is one of the toughest to predict among the recent years. I know it’s just one of those things people say pretty much every year. And come Oscar night, we usually realize how completely predictable it’s actually been all along. Yet, I don’t think this year will play like that. We are indeed looking at an open race where anything could happen. There is even a crazy/passionate theory out there that favors Room since it is one of this year’s most emotionally resonating nominees. Well, that’s a long long long shot (and even calling it a long shot is optimistic), but I’m just trying to give you a sense of how widespread the tastes and predictions are this year.
Yet, it’s still not a total crapshoot. The current frontrunners (in order) are The Revenant (which earned Alejandro G. Iñárritu the DGA Award this year), The Big Short (which won the PGA) and Spotlight (an early favorite since Venice/Telluride that lost a lot of blood since then, but came back from the dead with a SAG Ensemble win.) If any particular film won 2 out of 3 of these guilds, it would have been an easier call. Spotlight seems to please a widespread crowd, but I am still not sure if there’s enough passion around it to make it the most loved film in a preferential ballot. On the other hand, The Revenant and The Big Short are both surrounded by some extreme passion, both LOVE and HATE. The reactions to them have been a lot more divisive. While acknowledging the slight edge The Revenant currently has (it has won the BAFTA after all), I am going to go with the Producer’s Guild winner (a slightly better indicator than the DGA) The Big Short here. The film also has the best-adapted screenplay “in the bag” (as much as I hate speaking in absolutes), and its showy editing is also a possible winner on Oscar night (with Mad Max: Fury Road being a coin-toss challenger). We shall see how The Academy’s preferential ballot plays out in by far the most exciting Best Picture race in recent memory.
Who Will Win: The Big Short
Who Should Win: Brooklyn (Oh, but you surely knew I’d put this at my #1.)
Those are our consensus predictions for the 2016 Academy Awards. To see our individual ballots, click over to the final page.
Individual Ballots
What we each think will win in every category.
Tomris Laffly
Best Picture: The Big Short
Best Director: Alejandro G. Iñárritu
Best Actor: Leonardo DiCaprio
Best Actress: Brie Larson
Best Supporting Actor: Sylvester Stallone
Best Supporting Actress: Alicia Vikander
Adapted Screenplay: The Big Short
Original Screenplay: Spotlight
Cinematography: The Revenant
Costume Design: Mad Max: Fury Road
Film Editing: The Big Short
Makeup and Hairstyling: Mad Max: Fury Road
Original Score: The Hateful Eight
Original Song: The Hunting Ground
Production Design: Mad Max: Fury Road
Sound Editing: The Revenant
Sound Mixing: The Revenant
Visual Effects: Star Wars: The Force Awakens
Animated Feature: Inside Out
Foreign Language Film: Son of Saul
Documentary Feature: Amy
Documentary Short: Girl in the River
Animated Short: Bear Story
Live-Action Short: Shok
Rob Hunter
Best Picture: Spotlight
Best Director: Alejandro G. Iñárritu
Best Actor: Leonardo DiCaprio
Best Actress: Brie Larson
Best Supporting Actor: Sylvester Stallone
Best Supporting Actress: Alicia Vikander
Adapted Screenplay: The Big Short
Original Screenplay: Spotlight
Cinematography: The Revenant
Costume Design: The Danish Girl
Film Editing: The Big Short
Makeup and Hairstyling: Mad Max: Fury Road
Original Score: The Hateful Eight
Original Song: Youth
Production Design: Mad Max: Fury Road
Sound Editing: Mad Max: Fury Road
Sound Mixing: Mad Max: Fury Road
Visual Effects: Ex Machina
Animated Feature: Inside Out
Foreign Language Film: Son of Saul
Documentary Feature: Amy
Documentary Short: Claude Lanzmann
Animated Short: World of Tomorrow
Live-Action Short: Ave Maria
Neil Miller
Best Picture: The Revenant
Best Director: George Miller
Best Actor: Bryan Cranston
Best Actress: Brie Larson
Best Supporting Actor: Sylvester Stallone
Best Supporting Actress: Alicia Vikander
Adapted Screenplay: The Big Short
Original Screenplay: Spotlight
Cinematography: The Revenant
Costume Design: Mad Max: Fury Road
Film Editing: The Big Short
Makeup and Hairstyling: Mad Max: Fury Road
Original Score: The Hateful Eight
Original Song: The Hunting Ground
Production Design: Mad Max: Fury Road
Sound Editing: The Revenant
Sound Mixing: The Revenant
Visual Effects: Star Wars: The Force Awakens
Animated Feature: Inside Out
Foreign Language Film: Son of Saul
Documentary Feature: The Look of Silence
Documentary Short: Body Team 12
Animated Short: World of Tomorrow
Live-Action Short: Shok
What are your predictions? Let us know in the comments below.
