With only six months remaining in 2026, we are officially at the halfway point of film releases for the 2027 Oscars. Any Oscar pundit worth their salt knows that the last three to four months are when the bulk of the awards contenders release in theaters, but the first half of the year is not to be discounted. Which films from January to June stand the best chance at Oscar glory? Be sure to check out our newly designed Oscar predictions page to see how many members of the Next Best Picture team are predicting these movies to stay in the conversation until next year’s awards.
28 Years Later: The Bone Temple
To get the obvious question out of the way: did “28 Years Later” receive a single Oscar nomination? No, it did not. However, it did receive four BAFTA longlist mentions (Outstanding British Film, Editing, Original Score, Adapted Screenplay) and one BAFTA nomination (Outstanding British Film). “28 Years Later: The Bone Temple” is an equally well-liked sequel that, despite coming out in January, has thus far remained in people’s minds as one of the year’s finest films. If it manages to stick around through the end of the year, the obvious Oscar category to reward it is in Best Makeup & Hairstyling, which its predecessor received a nomination for at the Critics’ Choice Awards. Not only are the prosthetics for the infected gruesome and terrifying, but the makeup for Ralph Fiennes’ character is haunting and adds to his characterization.
The AI Doc: Or How I Became An Apocaloptimist
The hot-button issue of 2026, if not the decade, is the rise of AI and what it means for our futures. This is especially relevant to those in the entertainment industry, considering how many strikes and guild negotiations have been carried out due to the fear surrounding the use of artificial intelligence by studios. “The AI Doc: Or How I Became An Apocaloptimist” is a great documentary that addresses this fear through the lens of a father-to-be, and the significance of its subject matter makes it a strong contender for Best Documentary Feature.
Ask E. Jean
“Ask E. Jean” is titled after the Elle magazine column of the same name and chronicles the experiences of journalist E. Jean Carroll as one of the first female editors at Playboy and Esquire, and as the only woman to win two sexual assault cases against Donald Trump. The documentary premiered at Telluride last year, but received a qualifying theatrical run this year. Its reviews are solid across the board, and the portrait of unwavering resilience in the face of patriarchal systems should resonate with many voters.
Backrooms
The most talked-about aspect of “Backrooms,” besides the film’s surprising box office success and the young age of director Kane Parsons, is the stunning craft of the backrooms themselves. The sets occupied more than 30,000 square feet and required four different stages to be built. If the category were called Most Production Design instead of Best Production Design, it would be a shoo-in. Yet what makes this achievement also deserving of Best Production Design is that it takes an iconic aesthetic, fleshes it out, and becomes the focal point of one of the year’s most popular films. In a short period of time, the production design of “Backrooms” has become iconic in its own right, as it creates a world that no one would ever want to be trapped in, but has engrossed all who watch the film.
The Christophers
Sir Ian McKellan is one of our most respected actors, and in Steven Soderbergh’s “The Christophers,” he turns in yet another fantastic performance in his storied filmography. In the film, he plays Julian Sklar, a once-prominent artist in a stagnant stage of his career. He embodies vulnerabilities that anyone involved in the arts can relate to, as he fears that he no longer has the creative spark that once made him who he was and that his legacy will diminish with time. The two-time Oscar nominee will absolutely need a critical push, however, to become a three-time Oscar nominee by next January.
The Death of Robin Hood
If you didn’t know Hugh Jackman was the lead of “The Death of Robin Hood,” I wouldn’t blame you. The makeup artists and hairstylists who worked on this film did an impressive job of turning the movie star into an aged, weary version of the iconic character and leaving little trace of his original features. If there’s one narrative that rarely fails with the makeup and hairstyling branch, it’s transforming a well-known actor into someone completely unrecognizable.
The Devil Wears Prada 2
The original “The Devil Wears Prada” received two Oscar nominations: Best Actress for Meryl Streep and Best Costume Design. The fashion-forward sequel “The Devil Wears Prada 2” doesn’t quite meet the high standards set by the first film, and Streep doesn’t get nearly as many instantly-classic line readings. Nonetheless, the costuming of this film is hard to deny, with its 2026 take on avant-garde designs feeling just as fresh as the original’s. There are also not one, not two, but three new Lady Gaga songs to add to your Spotify. “Glamorous Life” is great, though largely out of contention. “Runway” is a poppy single, but “Shape of a Woman” is actually performed in the film, so it might be down to the campaign to see which one stands the best chance at an Oscar nod.
Best Costume Design
Best Original Song
Disclosure Day
When we most needed him, sci-fi-mode Steven Spielberg returned with “Disclosure Day.” Although the audience reception might be a bit too divisive for Best Picture, the film has nevertheless made bank and stands as many people’s favorite of the year. Chief among its merits is Emily Blunt’s performance, which many have called the actress’ career-best work. John Williams is a legend for good reason and turns in another notable score here. “Disclosure Day” is also in the hunt for Best Sound and Best Visual Effects, particularly for its extraterrestrial sequences.
Best Actress
Best Original Score
Best Sound
Best Visual Effects
The Drama
Is there any twist this year that was more discussed than that of “The Drama”? The taut screenplay goes to places you would never imagine, pushing each character to their moral breaking point after a traumatizing secret derails the main lovebirds’ wedding. It’s the definition of an accomplishment in screenwriting. While the film may owe its initial box office success to the star power of Zendaya and Robert Pattinson, the sustained conversation around the film is due to the uncomfortable questions the script asks about love, violence, and trust. If it continues to create discourse in the months that follow, an Original Screenplay nomination is in the realm of possibility.
EPiC: Elvis Presley in Concert
Concert films rarely do well at theOscars, with QuestLove’s “Summer of Soul (…Or, When the Revolution Could Not Be Televised)” being a rare exception because of its political importance. This doesn’t change the fact that Baz Luhrmann’s newest film, “EPiC: Elvis Presley in Concert,” is not only one of the year’s most acclaimed documentaries, but one of the year’s most acclaimed films, period. Boasting a 97% on Rotten Tomatoes and an 86 on Metacritic, this documentary capturing Elvis’s Las Vegas residency dazzles. Oscar voters went nuts for Luhrmann’s previous film, “Elvis,” so this could possibly receive similar treatment.
Hoppers
While much fuss has been made about the so-called “Pixar slump” in recent years, their Oscar track record for nominations remains solid, especially for their original films. “Hoppers” should be no different, as the absolutely delightful animated film shines with its zany humor and beating heart at its core. It’s an immensely lovable film, and the animation style is filled to the brim with personality. It may not be one of Pixar’s best films, but it is one of their funniest. The passion is absolutely there for a nomination, though there is another Pixar film that came out this year that feels even more secure.
I Love Boosters
After an uproarious premiere at SXSW, the utterly zany “I Love Boosters” has become one of the highlights of 2026. Its wild tone and truly bonkers storytelling might hurt its chances in most categories, but its costume design is too brilliantly loud to be ignored. It’s colorful, innovative, and completely in its own lane, enhancing the characters’ personalities and fueling their motivations. Every frame boasts some of the most out-of-this-world costuming you will see all year. NEON may have its hands full with awards contenders, but the audacious outfits these characters wear practically campaign themselves.
I Swear
Robert Aramayo is devastating in “I Swear,” a film detailing the life of Tourette’s activist John Davidson. His tour de force performance was rewarded with a surprising BAFTA win over eventual Oscar winner Michael B. Jordan for “Sinners” and then-frontrunner Timothée Chalamet for “Marty Supreme.” But make no mistake, he’s eligible at every other awards body (including the Oscars) this year. BAFTA acting winners rarely miss the Oscar nomination, but typically, a win like this is most beneficial when it happens during voting. Aramayo’s buzz may have come one year too early, but it’s nonetheless an undeniable performance that can get nominated, if given the right push.
The Invite
After a high-profile acquisition by A24 at Sundance, “The Invite” has lit audiences’ hearts on fire in its limited release. A couple whose marriage is on the rocks invites their upstairs neighbors for dinner, only to receive their own invitation mid-party. Though it’s currently only playing in a handful of theaters, those who have seen it can’t stop raving about its brilliant script, its cunning humor, its dynamic quartet of performances, and its tender outlook on the reality of relationships. If this near-universal praise continues to spread with its wide release, this summer film could make a serious dent in awards season.
Best Picture
Best Director
Best Supporting Actress
Best Supporting Actor
Best Adapted Screenplay
Michael
Now the highest-grossing biopic of all time, “Michael” is a force to be reckoned with. Michael Jackson is one of the most iconic, beloved celebrities of all time because of his timeless music and performing capabilities, and audiences have been uproarious in their praise for the film. Admittedly, critics don’t share the same enthusiasm: the film bears a mere 38% on Rotten Tomatoes. But with the film clearly being such a sensation, could it overcome this high-brow animosity with its mass appeal? In particular, Jaafar Jackson and Colman Domingo have a lot of passion behind their intense, transformational performance. Should these performances be nominated, a Best Makeup & Hairstyling nod is absolutely in play because of how crucial a role that craft plays in bringing these recognizable people to life on-screen. Best Costume Design could make sense for this period piece with iconic outfits, as could Best Sound, considering the film is about a musician. Those additional nominations would need to happen to secure a Best Picture nod, however. Are there enough diehard MJ fans in the Academy for it to happen? Time will tell.
Best Picture
Best Actor
Best Supporting Actor
Best Costume Design
Best Makeup & Hairstyling
Best Sound
Mother Mary
David Lowery’s latest film, “Mother Mary” follows an iconic pop star (Anne Hathaway) as she attempts to make her comeback to the public sphere. While the reception to this film was neither unanimous nor effusive, there are aspects of it that have generated conversation. The costuming in every performance is deeply inspired and makes you feel like you’re witnessing an elaborate concert from the likes of Lady Gaga rather than a filmed spectacle. The soundtrack also shines in this regard, as the music absolutely sells the conceit that Mother Mary is one of her generation’s biggest superstars.
Best Costume Design
Best Original Song
Obsession
The success story of “Obsession,” a tiny horror film made on a budget of $750,000 by 26-year-old Curry Barker that has grossed over $370 million worldwide and counting, is not one Hollywood will forget any time soon. The film has deeply resonated with audiences due to its unique spin on the “be careful what you wish for” premise, its haunting examination of relationships, and, of course, the horrifying performance from Inde Navarrette.
Best Picture
Best Actress
Best Original Screenplay
Best Casting
Best Film Editing
Power Ballad
John Carney is legendary for his music-infused dramas and the soundtracks that accompany them, with “Sing Street” and “Once” being particularly memorable efforts from the director. And although “Once” won Best Original Song for “Falling Slowly,” and his 2014 film “Begin Again” was nominated for its tune “Lost Stars,” his subsequent films “Sing Street” and “Flora and Son” failed to receive nominations. “Power Ballad” could change this as yet another well-reviewed film of his, which revolves around the catchiness of “How to Write a Song Without You.” The main conflict of the film — the lack of credit Paul Rudd’s character receives for the song — doesn’t work if the song doesn’t work. But true to the title of the film, this track written by John Carney and Gary Clark is a power ballad that hits all the right notes. Films often get lone Best Original Song nominations, and I see no reason why this can’t if it stays in the public consciousness.
Project Hail Mary
If you asked a large number of people what their favorite film of 2026 was, I would bet money that “Project Hail Mary” would be the consensus pick. Both a commercial and critical triumph, the sci-fi film is stunningly beautiful with its heart, humor, and heavenly visuals. On a technical level, “Project Hail Mary” astounds: the sweeping score and sound heighten the emotional stakes of many sequences, while the combination of visual effects and production design takes you to the stars and back. And that’s not even mentioning the performances. Sandra Hüller gets perhaps the film’s best scene with her transcendent rendition of “Sign of the Times,” and Ryan Gosling anchors the entire thing with his sincerity and abundant screen presence. Without a doubt, this is the premier Oscar contender of the first half of the year, and the sheer love it has should prevent it from falling off in any major way.
Best Picture
Best Director
Best Actor
Best Supporting Actress
Best Adapted Screenplay
Best Cinematography
Best Film Editing
Best Production Design
Best Original Score
Best Sound
Best Visual Effects
Send Help
Inde Navarette isn’t the only actress from a horror film hoping for Oscar glory. Rachel McAdams’s simultaneously charming and chilling performance as Linda Liddle is one of the most discussed performances of the year, and for good reason. She’s charismatic from the get-go, and watching Linda become more unhinged and monstrous is the primary reason “Send Help” is as enjoyable a watch as it is. Though it seems doubtful that two actresses from horror films will get nominated this year, Demi Moore’s recent nomination for “The Substance” and Amy Madigan’s win for last year’s “Weapons” show that the Academy is willing to consider horror performances from actresses. The real question is whether people can keep McAdams in the conversation six months down the road.
The Sheep Detectives
The biggest surprise of the year might be “The Sheep Detectives.” Once the subject of incredulous remarks about the odd premise, it’s now one of the year’s most well-liked films. The crowd-pleasing tearjerker follows a herd of sheep that must solve the murder of their beloved shepherd. Rather than letting these animals be soulless CGI monstrosities, the visual effects on the sheep give each character heart and personality. The Oscars have proven themselves willing to nominate impressive animal VFX in the past — “The Lion King” and “Better Man” come to mind — so “The Sheep Detectives” could absolutely be in the running.
Time and Water
“Time and Water” is a National Geographic documentary that draws parallels between the melting of glaciers and the loss of family memories. It premiered at the 2026 Sundance Film Festival and received solid reviews, with many citing the film’s poetry and heartbreak as standout elements. National Geographic has a decent track record at getting their documentaries nominated, like “The Cave” and “Free Solo” (which won), and many eventual nominees in this Oscar category premiere at Sundance.
Toy Story 5
When “Toy Story 5” was announced, there was much reservation. The “Toy Story” franchise was largely agreed to have a perfect ending with “Toy Story 3,” and “Toy Story 4” already felt like overkill to some. Would this latest entry ruin the franchise’s great batting record? While few would claim “Toy Story 5” to be the best film in the series, it was released to strong critical and audience reception. The franchise is thus far unbeaten in Best Animated Feature (with the caveat that the first two “Toy Story” films premiered before the category was introduced), so “Toy Story 5” could continue this winning streak. It’s also in the hunt for a Best Original Song Oscar, though for the first time, the songwriter isn’t Randy Newman! Instead, Taylor Swift enters the Oscars race with “I Knew It, I Knew You.” She has so far failed to receive a nomination in Best Original Song, but the “Toy Story” franchise has gotten a nod in this category for every single film. One of these streaks is bound to break this year, and I would bet on the former.
Best Animated Feature
Best Original Song
Tuner
“Tuner” is the first narrative feature effort from Oscar-winning documentary filmmaker Daniel Roher. Though it seems doubtful that it will reach the same heights Oscar-wise as films like his winning documentary “Navalny,” voters should be attuned to its merits in two particular categories. “Tuner” follows a man with a condition that makes sounds unbearably loud for him, and the Oscar-winning sound team does an excellent job of placing you in his auditory headspace. You flinch with every noise the same way our protagonist does, a testament to the evocative sound work. The editing is just as impressive, with its snappiness punctuating music-infused sequences, adding excellent comedic timing and heightening stakes.
Wuthering Heights
Calling Emerald Fennell’s adaptation of “Wuthering Heights” divisive is putting it lightly. The film currently sits at 57% on Rotten Tomatoes, and its IMDb score isn’t much better at 6.1. However, what does have consensus is the film’s visual style. The costume and production design are sumptuous and place you right in these characters’ world, and the cinematography captures the spectacle beautifully. The soundtrack by Charli xcx is also a lot more well-reviewed than the film it’s attached to, with “House” being the hit from the album but “Chains of Love” being more traditionally awards-friendly. These technical aspects could rise above the controversial movie from which they hail.
Best Cinematography
Best Costume Design
Best Production Design
Best Original Song
What films from the first half of the year do you think could receive Oscar nominations? Have you seen the newly designed Oscar predictions page from Next Best Picture (powered by Award Expert)? What do you think of the first consensus picks? Please let us know in the comments section below and on Next Best Picture’s X account.
