Fifty films are nominated across 23 categories at this year’s Academy Awards and, to watch them all, you’d have to dedicate 77 hours and 44 minutes of your life glued to the silver screen.

Although I fell slightly short of seeing all 50, my final pre-show tally of 42 — check my Letterboxd for proof — still puts me well ahead of the average Oscar voter who, per some anonymous ballots, didn’t even bother finishing Best Picture nominees like “Dune: Part 2.”

Those who did sit down for this eclectic collection of features and shorts were transported to lands familiar and foreign: the Vatican’s hallowed halls (“Conclave”), the Emerald City’s piercing green skyscrapers (“Wicked”), the West Bank’s war-torn hamlets (“No Other Land”), a teenager’s emotion-filled mind (“Inside Out 2”) and everywhere in between.

But which ones connected with voters? And which left me enamored?

These are the movies, performances and technical achievements that the industry will likely reward, as well as the ones I’d personally honor at the upcoming ceremony, set for March 2 at the Dolby Theatre in Los Angeles, based on precursor outcomes and my own taste.

Best Picture: “Anora” will win; “Nickel Boys” should win

Despite leaving the Golden Globes and Screen Actors Guild, or SAG, Awards empty-handed, “Anora,” a romantic comedy-drama about a sex worker’s doomed marriage to a Russian oligarch’s son, is a stable enough frontrunner for the academy’s most prestigious honor.

Thus far, the Neon release has swept at three key American industry ceremonies — the Producers Guild of America, or PGA, Awards, the Directors Guild, or DGA, Awards and the Writers Guild, or WGA, Awards — putting it in an excellent position vis-à-vis the competition. This century, only one film, “Brokeback Mountain” in 2006, failed to win Best Picture after securing, at minimum, wins at these particular precursors.

Going into nominations Jan. 23, “Nickel Boys” wasn’t even guaranteed a nomination in this category, having only garnered Best Picture nominations at the Critics Choice Awards, handed out by the American-Canadian Critics Choice Association, or CCA, and the Golden Globes. 

Fortunately, enough voters recognized RaMell Ross’ ambitious adaptation of Colson Whitehead’s novel, which follows two Black boys enduring abuses at a reformatory school in 1960s Tallahassee, Florida, and recognized it in the Best Picture and Best Adapted Screenplay categories.

With breathtaking point-of-view cinematography, indelible performances and a powerful central message, “Nickel Boys” should win. Sadly, given how this award season unfolded, it was lucky to even score a nomination.

Best Director: “Anora” will win; “The Brutalist” should win

Early in the season, Brady Corbet, director of “The Brutalist,” triumphed in this category at the Golden Globes and the British Academy Film Awards, or BAFTAs, and seemed a shoo-in for the Oscar. But, after losing to “Wicked” helmer Jon M. Chu at the CCA and “Anora” filmmaker Sean Baker at DGA, his winning prospects plummeted.

Since 2000, the DGA victor has repeated at the Oscars all but four times; like in Best Picture, history and statistics are on the side of “Anora.”

Corbet’s sprawling American epic, clocking in at nearly four hours and produced for a meager $10 million sum, is a directorial achievement deserving of further recognition, but alas.

Best Actor: Adrien Brody (“The Brutalist”) will and should win

After wins at BAFTA, CCA and the Golden Globes, Brody, whose portrayal of Hungarian-Jewish immigrant and architect László Tóth in “The Brutalist” cemented his status as a generational talent, is poised to win Best Actor for the second time; he became the category’s youngest victor at 29 years old for “The Pianist” in 2003.

“A Complete Unknown” star Timothée Chalamet beat Brody at SAG, but his path to an upset here is narrow: Nobody has ever won Best Actor at the Academy Awards with just a SAG win, a fact gnawing at Club Chalamet, I’m sure.

Best Actress: Mikey Madison (“Anora”) will and should win

At first glance, Demi Moore seems a near-lock for the Best Actress prize: Her turn as Elisabeth Sparkle in “The Substance,” a body horror-comedy hybrid from French writer-director Coralie Fargeat, garnered recognition at the Golden Globes, CCA and SAG Awards. Meanwhile, Madison only managed a BAFTA win.

However, Moore is vulnerable for several reasons, chief among them being the academy’s well-documented aversion to horror fare, especially in acting categories. While SAG has warmed to the genre in recent years, awarding Emily Blunt (“A Quiet Place”) in 2019, only six such performances have won since the first Academy Awards in 1927. To put that in perspective, less than 2% of acting winners are from horror films.

As the Best Picture frontrunner’s namesake and a BAFTA recipient, Madison is, arguably, in a slightly better position heading into the ceremony; it will be a nail-biter until the end, though.

Best Supporting Actor: Kieran Culkin (“A Real Pain”) will win; Jeremy Strong (“The Apprentice”) should win

The academy’s going to reward the wrong “Succession” alum.

Culkin hasn’t missed a beat this season, winning a BAFTA, CCA, Golden Globe and SAG Award for playing Benji Kaplan, an outspoken New Yorker grieving his grandmother’s death while on a Jewish heritage tour of Poland with his cousin, in “A Real Pain.” At this point, it would take an act of God to keep him from the Dolby Theatre’s stage.

For all the ridicule he’s endured for his acting approach and verbose vocabulary, on social media and from co-stars like Brian Cox, you can’t deny that Strong is an effective performer — and “The Apprentice” reaffirms this. His portrayal of Roy Cohn, who mentored President Donald Trump in the ‘70s and ‘80s, is brilliantly calibrated. It even garnered the approval of Roger Stone, a former Trump consultant who personally knew Cohn.

Best Supporting Actress: Zoe Saldaña (“Emilia Pérez”) will win; Ariana Grande-Butera (“Wicked”) should win

It appears the myriad controversies plaguing “Emilia Pérez” haven’t deterred voters from embracing Saldaña’s portrayal of Rita Mora Castro. She may be the politically asinine film’s greatest — and, really, only — asset, but her triumphs at the BAFTA, CCA, Golden Globe and SAG ceremonies are disappointing, especially given the competition posed by Grande-Butera. Saldaña will easily take the Oscar next.

Grande-Butera, who plays Galinda “Glinda” Upton in “Wicked,” should be running away with this award for her infectious vivaciousness and awe-inspiring vocals. Perhaps voters are waiting to reward her for the sequel, “Wicked: For Good,” which opens in November.

Best Original Screenplay: “Anora” will win; “A Real Pain” should win

Although each major precursor rewarded a different film in this category — “Anora” won at the WGA Awards, “The Substance” prevailed at CCA and “A Real Pain” surprised at BAFTA — Baker should easily take the Oscar, given the film’s strength in Best Picture.

Given the sheer amount of actor-improvised dialogue in “Anora,” though, Jesse Eisenberg, scribe, director and star of “A Real Pain,” should be the victor; his screenplay is equal parts funny and poignant.

Best Adapted Screenplay: “Conclave” will win; “Nickel Boys” should win

“Conclave,” an adaptation of Robert Harris’ novel about a new pope’s election, took home Best Screenplay at the Golden Globes and Best Adapted Screenplay at BAFTA and CCA; it was not eligible at the WGA Awards, where “Nickel Boys” prevailed.

Though Peter Straughan’s “Conclave” script is deserving, sporting some instantly iconic monologues, Ross and Joslyn Barnes’ work on “Nickel Boys” is nothing short of extraordinary. “Nickel Boys” is a true feat of adaptation, and the film’s point-of-view cinematography accounted for in the writing itself; it deeply deserves this honor.

Best Animated Feature: “The Wild Robot” will win; “Flow” should win

The fourth time might be the charm for Chris Sanders, co-director of past nominees “Lilo & Stitch,” “How to Train Your Dragon” and “The Croods.” “The Wild Robot,” which he directed solo, has already won the CCA’s Best Animated Feature accolade and nine trophies at the 52nd Annie Awards, an industry ceremony celebrating animated fare.

“Flow,” an independent film from Latvia about a black cat’s perilous journey through a flooded world, is simply gorgeous and at least prevailed at the Golden Globes; it’s an underdog (undercat?) worth rooting for.

Best International Feature Film: “Emilia Pérez” will win; anything but “Emilia Pérez” should win

The aforementioned controversies may prevent it from taking Hollywood’s highest honor, but “Emilia Pérez” is a safe bet here: It scored 13 nominations, the most of any film this year, and won the Golden Globe, CCA and BAFTA in the same category.

Our only hope in thwarting this poorly conceived and executed motion picture, realistically, is the excellent “I’m Still Here,” a Brazilian film that, despite its weak showing at several major precursor ceremonies, miraculously secured a Best Picture nomination. Walter Salle’s feature would, like fellow nominees “Flow,” “The Girl with the Needle” and “The Seed of the Sacred Fig,” make a far better victor. After all, scandal aside, “Emilia Pérez” is, per audience scores on sites like Rotten Tomatoes and Letterboxd, widely disliked by the masses — and understandably so.

(Cue “La Vaginoplastia.”)

At the time of publication, I have not seen “The Girl with the Needle” or “The Seed of the Sacred Fig.”

Best Documentary Feature: “Porcelain War” will win; “No Other Land” should win

After the bizarre snub of “Super/Man: The Christopher Reeve Story,” which won major precursor prizes at BAFTA, PGA and CCA, it’s safest to default to “Porcelain War” in this category.

Besides winning the DGA’s Outstanding Directorial Achievement in Documentaries award, this film, much like the last two winners, “Navalny” and “20 Days in Mariupol,” centers on Russian opposition. Don’t be surprised if voters support “Porcelain War” to signal their disdain for the Kremlin’s actions.

“No Other Land,” which follows a Palestinian activist and an Israeli journalist’s joint efforts to draw international attention to the Israeli government’s seizure of land in the West Bank, is a visceral, important documentary. Due to diverging views on the conflict, though, it is unlikely to be rewarded.

At the time of publication, I have not seen “Black Box Diaries,” “Sugarcane” or “Soundtrack to a Coup d’Etat.”

Best Music (Original Score): “The Brutalist” will and should win

Daniel Blumberg’s score for “The Brutalist,” his second ever, impressively charts the highs and lows of protagonist László’s life through poignant piano pieces and triumphant brassy tunes. With “Challengers” snubbed, “Dune: Part 2” deemed ineligible and a BAFTA to his name, Blumberg will almost definitely be rewarded — much to this reformed band kid’s pleasure.

Best Music (Original Song): “El Mal” from “Emilia Pérez” will win; “Compress/Repress” from “Challengers,” which isn’t even nominated, should win

The academy will pay for snubbing “Challengers” in this category — especially given how bland the competition is. “El Mal” won out at the Golden Globes and CCA, making it the de facto Oscar winner, and, despite my disdain for the film it’s attached to, this inevitability doesn’t make my blood boil.

That’s how unoriginal and forgettable the other nominees are.

At least Trent Reznor and Atticus Ross, who composed “Compress/Repress” and the “Challengers” score, already have multiple Oscars on their mantlepiece.

At the time of publication, I have not seen “The Six Triple Eight.”

Best Sound: “Dune: Part 2” will and should win

From the noise of an ornithopter flapping its wings to a sandworm breaking through Arrakis’ sandy surface, “Dune: Part 2” features some of the most detailed sound work in recent memory; it immerses viewers into the universe conceived by author Frank Herbert and realized on the big screen by co-writer and director Denis Villeneuve.

Best Production Design: “Wicked” will win; “Dune: Part 2” should win

With wins at CCA, BAFTA and the Art Directors Guild Awards, “Wicked” is bound to win the Oscar for its fresh take on the ever-expansive Land of Oz.

However, the meticulously crafted “Dune: Part 2” sets, which invited viewers into locales like the dastardly Giedi Prime, home of the Harkonnens, and the labyrinthian underground sietches of Arrakis, where the Fremen live, demand respect. Had the first film not won this category in 2021, maybe this year’s outcome would be different.

Best Cinematography: “The Brutalist” will and should win

Lol Crawley, lensman for Corbet’s daunting third feature, composed searing images deserving of acclaim, including one of an inverted Statue of Liberty greeting László at Ellis Island. With a BAFTA under his belt, Crawley will, fortunately, take the Academy Award next.

Best Makeup and Hairstyling: “The Substance” will and should win

Academy voters, like those at BAFTA, CCA and the Make-Up Artists & Hair Stylists Guild Awards, won’t — and shouldn’t — pass up the opportunity to recognize Pierre Olivier Persin, Stéphanie Guillon and Marilyne Scarselli’s work on “The Substance.”

Best Costume Design: “Wicked” will and should win

Nominated once before for Steven Spielberg’s “West Side Story” remake, Paul Tazewell will rightfully collect the gold statue for designing Galinda’s shimmering pink ball gown, Shiz University’s navy school uniforms and the Wizard’s all-green suit, among others.

At the time of publication, I have not seen “Gladiator II.”

Best Film Editing: “Conclave” will and should win

Nick Emerson’s editing for “Conclave” turns what could’ve been a rudimentary drama into a propulsive thriller. The film’s post-production assembly is, ultimately, what ensures the success of director Edward Berger’s anxiety-inducing romp through St. Peter’s Basilica, making it a worthy and, after its BAFTA triumph, likely winner.

Best Visual Effects: “Dune: Part 2” will and should win

The visual effects team for “Dune: Part 2” faced a daunting task in bringing Herbert’s science-fiction creatures and environments to life. Fortunately for the source material’s admirers and casual fans alike, they succeeded. Thus far, the film has been rewarded by BAFTA and CCA; expect Oscar voters to follow suit.

At the time of publication, I have not seen “Better Man.”

Best Live Action Short Film: “A Lien” will win; “The Man Who Could Not Remain Silent” should win

Every short film category is challenging to predict, as the only major precursor to recognize them, BAFTA, hardly ever aligns with the academy. That said, given the Trump administration’s recent anti-immigration policies, voters may be inclined to throw their support behind “A Lien,” a short about a young family whose patriarch is ultimately intercepted by ICE moments after completing an interview that could grant him a path to citizenship.

With arresting cinematography and precise performances, “The Man Who Could Not Remain Silent,” the Short Film Palme d’Or winner that dramatizes the Štrpci massacre of 1993, should be recognized, though.

Best Animated Short Film: “Yuck!” will and should win

“Yuck!” is a French production that follows two youngsters who, while at a campground, are simultaneously intrigued and disgusted by the prospect of kissing. It’s a sweet, silly film that, unlike some of its competition (i.e., “Wander to Wonder”), isn’t offputting.

Plus, many voters still regard animation as a genre for children, giving the family-oriented “Yuck!” an edge.

Best Documentary Short Film: “I Am Ready, Warden” will win; “Incident” should win

Like in Best Live Action Short, voters could send a message in backing “I Am Ready, Warden,” a 37-minute short about John Henry Ramirez, a convicted murderer who, in 2022, was executed by the state of Texas despite pleas from activist groups and Ramirez’s godmother.

“Incident,” too, is a condemnation of our justice system, detailing Harith “Snoop” Augustus’ death at the hands of Chicago police officer Dillan Halley through archival and bodycam footage. It’s a more experimental documentary that, unlike the more traditional “I Am Ready, Warden,” isn’t as scattered in its execution. That formal experimentation, though, could alienate some voters, hence why “I Am Ready, Warden” seems the more likely winner.

To see which predictions come to fruition, tune into the 97th Academy Awards ceremony broadcast March 2 at 7 p.m. on ABC.