This Sunday at the 98th Academy Awards, the academy will grant its most prestigious award—best picture—to one of 10 nominated films. Since the inaugural Academy Awards in 1929, when “Wings” received the honor as the “outstanding picture,” 650 films have earned nomination in this category.

Membership to the Academy of Motion Picture Arts and Science is by invitation only and based on distinctive achievement within the industry. A diverse range of film professionals—actors, writers, directors, producers, publicists, and artist representatives—comprise the academy.  While some awards categories are determined by some of the academy’s 19 branches, nearly all of its 10,000 voting members nominate and vote for best picture.

Award winners receive a much revered Oscar. This gold-plated statuette was reportedly named by iconic actress Betty Davis, who claimed that the backside of the statuette resembled that of her husband, Harmon Oscar Nelson, or by academy librarian Margaret Herrick, who suggested the statuette looked like her “Uncle Oscar.”

Below, faculty and graduates of the University of Miami School of Communication Department of Cinematic Arts cast their votes for best picture:

Margaret Cardillo, assistant professor of professional practice, teaches screenwriting and survey of motion pictures.

It’s “One Battle After Another’s” (OBAA) moment and their award to lose. A win on Oscars night wouldn’t be a shocker for Paul Thomas Anderson’s latest (and I love an awards shocker just as much as the next person) because it’s already won a lot this awards season. “Sinners” rightly puts up a fight, but OBAA prevails.

The film was excellent: I was captivated the entire time and loved the performances, the writing, and nuanced tone. There’s a scene at the end where the cinematography is transcendent. Please do not watch OBAA on your phone or computer—you must at least experience it on a large television screen.

I also loved “If I Had Legs I’d Kick You,” but am not surprised it wasn’t nominated. It’s a weird movie about a mother on the brink, which is exactly what made it great and probably kept it out of the bigger conversation. I’m a bit bummed that “Materialists” didn’t get more love, but I’m probably alone in that.

Richard Galli, B.S. ’05, in film and creative writing. Filmmaker, colorist, director, and writer.

“One Battle After Another.” Certainly not a movie that checked all the boxes, but a film that checked a very rare one: showing me something I’ve never seen before. I’ve had countless conversations with artists and filmmakers about how the up-and-down chase scene is something that broke the mold. That ride will stay with me for years to come and was instantly a sequence I wanted to rewatch and study. This year’s nominees were filled with incredible moments—especially in the realm of cinematography—but this film, which pushes the envelope and ignites my own creativity, will stand above the rest.

Ali Habashi, associate professor of professional practice, award-winning filmmaker and educator who has filmed stories in more than 50 countries.

My favorite films this year are “Sentimental Value,” “Hamnet,” and “Train Dreams,” though I doubt any one of them will win the award. Somehow, grief, fractured families, trauma, and the weight of absence unite all three narratives. All three also examine how time and memory shape identity.

Pete Johnson, visiting assistant professor in creative communication whose research is in critical media industry practices and history of U.S. television.  

“Bugonia.” It is weird and subversive, like other Lanthimos pictures, but, unlike his others (films), it felt more extra-textually relevant to today—in its own oblique way. Emma Stone and Jesse Plemons offer stellar performances. I also read the movie as deeply humanist, delivering a bit of compassion and empathy amid the nihilism.

Also, I am partial to horror, so in addition to “Sinners,” I would have loved to have seen “Weapons” in one of the top spots.

Shane Kinsler, lecturer and double alumnus. Writer, director, cinematographer, editor, and producer.  

“One Battle After Another.” An important and timely film that points out the real villains of our country. Impeccable filmmaking, acting, and storytelling that feels unconventional compared to other films, making it a truly unique experience.  It also has a beautiful message about resisting fascist oppression and holding hope for the future.

Konstantia Kontaxis, professor and associate dean for research and creative activity.

This is a tough one. I am rooting for several of these films namely, “Bugonia,” “One Battle After Another,” and “Sinners,” but if I have to pick one, I’d go with “Hamnet.” LoveChloé Zhao’s work, her production values, the story, and the performances. Also, I know it did not get nominated for editing, but I think Affonso Gonçalves and Chloé Zhao did an amazing editing job.

Alfred Martin, associate professor and department chair of Cinematic Arts.

“Sinners” is my choice for “Best Picture” because of its ambition and its scope. It plays with genre hybridity, while feeling accessible on first watch. But subsequent watches reveal the complexity of its storytelling and the ways cinematography helps tell that story. It is also sonically rich in how it merges Black musical traditions and forms into a “gumbo” of Black sound.

Matthew Rembold, B.S.C. ’21, in motion pictures, and M.A. ’23, in public relations, is a digital marketing specialist with University Communications.

“Sinners” is my top choice, but the reality is that this is one of the better batches of nominees in a long time. Most of the nominees are very original, timely, and well-crafted experiences.

“Sinners” combines the elements I love most in movies. For starters, it’s a visually stunning film. Shooting between ultra-wide Panavision and 70mm 1.43 IMAX makes for an incredible experience, and certain scenes are timed perfectly with the aspect ratio changes, shifting from tight, intimate compositions to massive spectacle in a way that heightens the film’s biggest moments.

It’s also thematically rich. On the surface it’s a vampire movie, but underneath is a story about culture, music, assimilation, race, and more. These ideas were relevant during the period the film is set in, and the fact that they remain just as relevant today is a frightening realization that adds to the appeal.

The characters are all clearly defined, with distinct personalities, wants, and motivations, and the cast brings them to life beautifully. Beyond all that, the movie is simply a ton of fun. Even if someone isn’t especially interested in the themes or cinematography, it’s still an incredibly engaging experience with enough heart and excitement to keep you hooked.

In an era dominated by sequels, reboots, and franchises, it honestly feels like a miracle that an original horror film was made on this scale and received the attention it deserved. The fact that it now has the most nominations of any movie in Oscar history makes that even more impressive, especially considering how often the Academy overlooks horror.

Rafal Sokolowski, associate professor and program director of Master of Fine Arts in motion pictures.

“Hamnet.” This year presents a slate of great, diverse films, but none of those I saw affected me quite as “Hamnet” did. Chloé Zhao’s direction, the quality of the script, (Łukasz) Żal’s cinematography, and the incredible performances, from old to the young—all sets the highest standard for cinematic stories. There is an underlying emotional truth in this work, and a clear theme emerges—it’s tangible. Zhao is not afraid to confront us with the pain, something that others might want to avoid and “package” in allegories or hide behind conceptual metaphors. As a lover of Eastern European cinema, I really appreciated that risk.

Ed Talavera, professor and award-winning cinematographer.

“Train Dreams.” As a cinematographer, I was particularly drawn to the filming process. The film is one of the most visually stunning movies I’ve ever seen. It was all shot using natural light.