As Oscar voting draws to a close, all this year’s Best Picture nominees are available for home viewing in one form or another.

I finally got to see the last remaining nominee I hadn’t seen last week.

Jonathan Glazer’s The Zone of Interest can be found on Apple TV and other platforms. The Holocaust drama is expertly made with another stunning performance by Sandra Hüller, a Best Actress nominee for another Best Picture nominee, Anatomy of a Fall.

In Anatomy of a Fall, Hüller keeps you guessing as to whether she pushed her husband out of an attic window to his death or whether he accidentally fell or committed suicide. It’s easily the best performance by an actress in a courtroom drama since Marlene Dietrich kept us guessing as to her true intentions in 1957’s Witness for the Prosecution. In The Zone of Interest, Hüller is closer to Dietrich’s character in 1961’s Judgment at Nuremberg in which Dietrich played the wife of a career German officer in World War II.

Dietrich in Judgment at Nuremberg was the cultured, refined widow of an executed German General. Hüller in The Zone of Interest is anything but cultured and refined. She is a vulgar, petulant German hausfrau whose husband is the commandant of Auschwitz, responsible for the extermination of three million prisoners of the camp. Unlike Vera Farmiga in 2008’s The Boy in the Striped Pajamas, she is not the wife of a commandant who closes her eyes to the horrors of the camp, she is a willing participant in the horror. Hüller’s character doesn’t participate in the exterminations, but she can’t wait to get her hands on the confiscated belongings of the executed prisoners. She brings a new level of disgust to the screen in another one of the year’s best performances.

The Zone of Interest, which Steven Spielberg calls the best film about the Holocaust since his own Schindler’s List thirty years earlier, will almost certainly win the Oscar for Best International Film for which it is also nominated. It also has a strong chance of winning for its haunting, eerie sound design. It might also have had a shot at winning for Best Cinematography but that is not among the five nominations the film has received. Its other two nominations went to writer-director Jonathan Glazer for Best Directing and Best Adapted Screenplay.

This year’s Oscar nominees are unusual in that they went to the ten most highly praised films of the year in full agreement with the nominations of the PGA (Producers Guild of America). They are all worth seeing not just for the sake of Oscar completion, but because they are all good in one way or another. There are only two films that I would have preferred to see nominated over a couple of them, Andrew Haigh’s All of Us Strangers and Emerald Fennel’s Saltburn, both of which are currently streaming on Hulu and Netflix, respectively.

The Oscar frontrunner is, of course, Christopher Nolan’s Oppenheimer, a sweeping epic in the tradition of numerous Oscar winners including The Bridge on the River Kwai, Lawrence of Arabia, Patton, and more. The big, question now is whether Cillian Murphy will win the Best Actor Oscar for playing the title role in Oppenheimer as George C. Scott did for Patton or lose to another actor as Lawrence of Arabia’s Peter O’Toole did, losing to Gregory Peck in To Kill a Mockingbird.

There are plenty of precedents for both scenarios. In 1937, Paul Muni won the prestigious Best Actor award of the New York Film Critics Circle for playing the title character in that year’s Best Picture winner, The Life of Emile Zola, but lost the Oscar to Spencer Tracy in Captains Courageous. At the same time, that film’s nominated supporting actor, Joseph Schildkraut, won the Oscar in his category much in the same way that Robert Downey, Jr. has been doing in races this year while Murphy lost in the lead category.

If not Murphy, the likely Best Actor winner will be Paul Giamatti in The Holdovers where supporting actress Da’Vine Joy Randolph is trouncing the competition in the supporting actress category in every race imaginable.

Also in the running for Best Actor are Bradley Cooper and Colman Domingo, who like Cillian Murphy, are playing real-life characters: composer-conductor Leonard Bernstein in Best Picture nominee Maestro and Colman Domingo as civil rights organizer Bayard Rustin in Rustin. The fifth nominee is Jeffrey Wright in Best Picture nominee American Fiction.

Hüller, my choice for Best Actress for Anatomy of a Fall, has a much tougher shot at winning in her category. She is up against the highly popular performances of Emma Stone in Poor Things and Lily Gladstone in Killers of the Flower Moon, two other Best Picture nominees. Also in the running are recent loser Carey Mulligan in Maestro and perennial loser Annette Bening in Nyad, both playing real-life characters, as does Gladstone.

Another question is which Best Picture nominees will go home empty-handed?

In theory, they could all take home something. Barbie is sure to win Best Song for either “What Was I Made For?’ or “I’m Just Ken.” American Fiction is a strong contender for Best Adapted Screenplay. Maestro is a major contender for Best Makeup and Hairstyling.

Either Past Lives or Anatomy of a Fall will win for Best Original Screenplay. If Anatomy of a Fall somehow manages to win the Best actress award for Sandra Hüller but loses Best Original Screenplay, it won’t go home empty-handed. However, if it loses both Best Actress and Best Original Screenplay, it will.

On the other hand, if Past Lives, which some of us consider the year’s best film, loses Best Original Screenplay it will almost certainly go home empty-handed. However, if Lily Gladstone loses Best Actress to Hüller, Killers of the Flower Moon could be the film to go home empty-handed.

We’ll find out what happens on Sunday, March 10.