The 96th Academy Awards season has tested the bonds of friendship between a local features and entertainment section. Group chat arguments have spilled into real-life meetings, creating friction between the once-tight cohort of film lovers.

Staff writer Molly Rose Freeman, an avid “Barbie” supporter, stands in direct opposition to fellow staff writer Cameron Scherer — resident “Oppenheimer” appreciator. Shouting from the rafters, staff writer Izzy Betz won’t let her love for “Poor Things” go unheard. Meanwhile, assistant editor Taylor Bazella wants to grab a blanket and a cup of hot chocolate to accompany her viewing of “The Holdovers,” editor Nicholas De Lucca still thinks “John Wick 4” has a shot at Best Picture and staff writer Benjamin Price has abandoned this season’s award race for yet another screening of “Dune: Part 2.” 

The Panther’s Features and Entertainment section has chosen twelve categories to break down on this year’s ballot. Each member of the team has noted who they think will win along with who they’re rooting for — surely, using these results as bragging rights until next year’s Academy Awards. 

Best Cinematography

Benjamin: “Oppenheimer” 

Cameron: “Oppenheimer”

Izzy: “Oppenheimer” (Rooting for: “Poor Things”)

Molly Rose: “Poor Things” 

Nicholas: “Oppenheimer” (Rooting for: “Poor Things”)

Taylor: “Oppenheimer”

Taylor Bazella’s Breakdown: Even as someone dreading the potential “Oppenheimer” awards sweep, I can’t help but be a shameless advocate for the film taking home Best Cinematography. Hoyte van Hoytema shoots the film in both black and white and color in order to differentiate between timelines. He uses intimate close-ups in a film about people and faces, connecting the audience to the characters on a personal level. If “Oppenheimer” fails to snag this one, “Poor Things” is a sure-fire runner-up with its surreal fantasy world. But in the end, all contenders are wildly deserving, especially given that every nominated cinematographer has previously been in this position. 

Best Animated Feature

Benjamin: “Spider-Man: Across the Spider-Verse”

Cameron: “Spider-Man: Across the Spider-Verse”

Izzy: “The Boy and the Heron” (Rooting for: “Spider-Man: Across the Spider-Verse”)

Molly Rose: “Spider-Man: Across the Spider-Verse” 

Nicholas: “The Boy and the Heron” (Rooting for: “Spider-Man: Across the Spider-Verse”) 

Taylor: “Spider-Man: Across the Spider-Verse” 

Cameron Scherer’s Breakdown: Like all of the Studio Ghibli works, Hayao Miyazaki’s “The Boy and the Heron” is beautiful, with breathtaking characters and animation. Equally impressive is Pixar’s “Elemental.” The studio always seems to be creating new, unseen worlds for the big screen. “Spider-Man: Across the Spider-Verse,” however, should be crowned this year’s winner. Every frame of this sequel is fit to be presented on a canvas because of the film’s constantly changing animation styles, impressive animated choreography and exciting shot choices that draw you in. Additionally, the film offers quite possibly the best Spider-Man story told thus far. It was my favorite film of 2023. 

Best Original Screenplay

Benjamin: “Anatomy of a Fall” (Rooting for: “The Holdovers”)

Cameron: “The Holdovers”

Izzy: “Past Lives” 

Molly Rose: “Past Lives”

Nicholas: “Anatomy of a Fall” (Rooting for “Past Lives”)

Taylor: “Anatomy of a Fall” (Rooting for: “The Holdovers”)

Molly Rose Freeman’s Breakdown: Celine Song’s directorial debut “Past Lives” is a superbly written study of human connection. What makes it special is how it gives the viewer insight into the immigrant experience and depicts the way identity is formed by environment. This lovely little film absolutely deserved the nomination, and I’d love to see it take the award home, especially after being snubbed in other categories. Song does have some competition — the most notable being “Anatomy of a Fall.” Justine Triet and Arthur Harari’s screenplay has gotten a lot of love since being widely distributed. It’s gripping, smartly-written and has been talked about nonstop, so there is absolutely a chance of Triet and Harari taking home the gold.

Best Adapted Screenplay

Benjamin: “Barbie” (Rooting for: “American Fiction”)

Cameron: “Oppenheimer” 

Izzy: “Oppenheimer” (Rooting for: “The Zone of Interest”)

Molly Rose: “Barbie” 

Nicholas: “American Fiction” (Rooting for: “Oppenheimer”)

Taylor: “American Fiction” (Rooting for: “Poor Things”)

Izzy Betz’s Breakdown: It was a surprise when the Academy announced “Barbie” would be nominated under Adapted Screenplay instead of Original Screenplay, but I don’t believe it had a shot either way. Christopher Nolan’s genius use of first-person perspective to bring “American Prometheus” from script to screen deserves every award it can get. My colleagues believe “American Fiction” may pull through, but if I’m holding out for anyone to make the Oppenhomies cry, it’s “The Zone of Interest.”

Best Film Editing

Benjamin: “Oppenheimer” 

Cameron:  “Oppenheimer”

Izzy: “Oppenheimer (Rooting for: “Anatomy of a Fall”)

Molly Rose: “Oppenheimer” 

Nicholas: “Oppenheimer” (Rooting for: “The Holdovers”)

Taylor: “Oppenheimer” (Rooting for: “The Holdovers”)

Nicholas De Lucca’s Breakdown: Each nominee feels like a much-deserving winner in this category — all of which give rhythm and pace to films over two hours (some over three). I greatly enjoyed Kevin Tent’s old-fashioned dissolves, which breathed a sense of warm nostalgia into “The Holdovers.” The editing choices felt perfectly in tune with the environment. However, Jennifer Lame tackled a behemoth in “Oppenheimer” with grace and fluidity. By balancing several timelines and framing devices over 160 minutes, Lame may have secured herself the win, and rightfully so. 

Best Production Design

Benjamin: “Oppenheimer” (Rooting for: “Barbie”)

Cameron: “Poor Things” (Rooting for: “Barbie”)

Izzy: “Barbie” (Rooting for: “Poor Things”)

Molly Rose: “Barbie” 

Nicholas: “Poor Things” 

Taylor: “Barbie” 

Cameron Scherer’s Breakdown: How can the voting body not give this Oscar to “Barbie?” What stands out most about the film is the vibrance of Barbie Land — sporting a predominantly pink color palette that extends to every aspect of the film’s background. Viewers marveled at the attention to detail that production designer Sarah Greenwood invested in the world. Above all else, the presentation of Barbie Land exudes fun. While the backgrounds and worlds of “Poor Things” and “Oppenheimer” are both impressive, Greenwood’s presentation of Barbie Land in the finished film is deserving of the award. 

Best Supporting Actress

Benjamin: Da’Vine Joy Randolph for “The Holdovers”

Cameron: Da’Vine Joy Randolph for “The Holdovers” (Rooting for: Emily Blunt for “Oppenheimer”)

Izzy: Da’Vine Joy Randolph for “The Holdovers”

Molly Rose: Da’Vine Joy Randolph  for “The Holdovers” (Rooting for: America Ferrera for “Barbie”)

Nicholas: Da’Vine Joy Randolph for “The Holdovers”

Taylor: Da’Vine Joy Randolph for “The Holdovers”

Molly Rose Freeman’s Breakdown: Da’Vine Joy Randolph has absolutely swept this awards season with her stellar performance in “The Holdovers,” garnering praise from critics and general audiences alike. As happy as I’d be for the inevitable to happen, I would also love to see America Ferrera leave the ceremony with her first Academy Award. In a lot of ways, she was the beating heart and shining soul of “Barbie.” Even though her monologue has been both lauded and laughed at, I truly think it was a wonderful moment in the film. On another note, I think “Oppenheimer”’s Emily Blunt could potentially have a shot as well. Her performance has been lauded despite her limited amount of screentime, and she was able to do a lot with a little. 

Best Supporting Actor

Benjamin: Robert Downey Jr. for “Oppenheimer” (Rooting for: Ryan Gosling for “Barbie”)

Cameron: Robert Downey Jr. for “Oppenheimer”

Izzy: Robert Downey Jr. for “Oppenheimer” (Rooting for: Dominic Sessa for “The Holdovers” despite no nomination)

Molly Rose: Ryan Gosling for “Barbie”

Nicholas: Robert Downey Jr. for “Oppenheimer” (Rooting for: Sterling K. Brown for “American Fiction”) 

Taylor: Robert Downey Jr. for “Oppenheimer” (Rooting for: Sterling K. Brown for “American Fiction”)

Izzy Betz’s Breakdown: Put down your pitchforks, I’m not saying Robert Downey Jr. isn’t getting his Oscar. What I am saying is that I don’t believe his Lewis Strauss impersonation was any better than the other supporting performances in “Oppenheimer.” Call me crazy, but Dominic Sessa gave one of the most raw and nuanced performances of the season in “The Holdovers.” This is not Sterling K. Brown’s year to win for “American Fiction,” but I promise his Best Actor award is coming soon. Goslingers are sure to be disappointed when he goes home empty-handed, but at least they’ll get a performance of “I’m Just Ken” to ease the pain. 

Best Actress

Benjamin: Lily Gladstone for “Killers of the Flower Moon” (Rooting for: Sandra Hüller) 

Cameron: Lily Gladstone for “Killers of the Flower Moon”

Izzy:  Lily Gladstone for “Killers of the Flower Moon” (Rooting for: Emma Stone for “Poor Things”)

Molly Rose: Lily Gladstone for for “Killers of the Flower Moon” (Rooting for: Emma Stone for “Poor Things”)

Nicholas: Lily Gladstone for “Killers of the Flower Moon” (Rooting for: Sandra Hüller for “Anatomy of a Fall”) 

Taylor: Lily Gladstone for “Killers of the Flower Moon”

Benjamin Price’s Breakdown: Best Actress is a two-horse race at the moment. Every major award has gone to either Lily Gladstone’s anguished, powerful performance in “Killers of the Flower Moon” or Emma Stone’s elegantly bawdy performance in “Poor Things.” We find ourselves at something of a standoff between the two. I’m giving the edge to Lily Gladstone, given how much her performance looms over all three and a half hours of the film. If it’s neither of them, then I’m rooting for Sandra Hüller who commands “Anatomy of a Fall,” playing a seemingly normal person who you can’t help but feel might be a little sinister. It’s also absurd the Academy didn’t recognize Margot Robbie for her work in “Barbie,” considering the whole movie hinges on her firm commitment to capturing the inner life of a plastic doll. 

Best Actor

Benjamin: Paul Giamatti for “The Holdovers”

Cameron: Paul Giamatti for “The Holdovers” (Rooting for: Cillian Murphy for “Oppenheimer”) 

Izzy: Cillian Murphy for “Oppenheimer”

Molly Rose: Cillian Murphy for “Oppenheimer”

Nicholas: Cillian Murphy for “Oppenheimer”

Taylor: Cillian Murphy (Rooting for: Bradley Cooper for “Maestro”)

Taylor Bazella’s Breakdown: It appears the “Oppenheimer” star Cillian Murphy may have the Best Actor Oscar already secured, but both Paul Giamatti and Bradley Cooper aren’t going down without a fight. Murphy carries “Oppenheimer” and holds the responsibility of a nuanced character in a skillful manner that truly shows his mastery as an actor. Giamatti’s comedic timing, flawless delivery and mysterious lazy eye makes him one of the most lovable hardasses in recent memory. For that alone, he may deserve to take home the win. But Cooper’s full embodiment of Leonard Berstein in “Maestro” is him at the height of his career, and seeing him take home his first statue would make my night.

Best Director

Benjamin: Christopher Nolan for “Oppenheimer”

Cameron: Christopher Nolan for “Oppenheimer”

Izzy: Christopher Nolan for “Oppenheimer”

Molly Rose: Christopher Nolan for “Oppenheimer” 

Nicholas: Christopher Nolan for “Oppenheimer”

Taylor: Christopher Nolan for “Oppenheimer” (Rooting for: Jonathan Glazer for “The Zone of Interest”)

Benjamin Price’s Breakdown: Unfortunately, “Dune” fans will have to wait until next year’s ceremony to see Denis Villeneuve’s sequel dominate the Oscars, but a director of equal renown and a similar fondness for the IMAX experience looks to take home a statue. Christopher Nolan has had this award locked up practically since the release of “Oppenheimer” in July. “Oppenheimer” is such a wonderful meeting of filmmaker and material — comfortably complex, epic and suitably non-linear. This is a formidable category, but if the precursor awards leading up to the Oscars are any indication, it’s Nolan’s night, and by extension, “Oppenheimer’s.”

Best Picture

Benjamin: “Oppenheimer” 

Cameron: “Oppenheimer” 

Izzy: “Oppenheimer” (Rooting for: “Poor Things”)

Molly Rose: “Barbie” 

Nicholas: “Oppenheimer” (Rooting for: “Past Lives”)

Taylor: “Oppenheimer” (Rooting for: “Poor Things”)

Nicholas De Lucca’s Breakdown: Was it ever even a question? Predictions ebb and flow, but not for this year’s inevitable best-picture winner, “Oppenheimer.” One of the most celebrated contemporary filmmakers delivered his magnum opus on a silver platter, and the world ate it up. It’s challenging. It’s riveting. It’s full of familiar faces that make you say, “Is that Josh Peck?” It checks every single box. You won’t find a plausible challenger anywhere, not even in Barbie Land. You can bet the house and bring in the sheets because “Oppenheimer” will write its name in the history books this coming Sunday.