Cillian Murphy

In my pre-Oscar predictions, I wrote “we are now in that brief period where Christopher Nolan, the most significant director of the past two decades, is not an Oscar winner, and by the time people read this on Monday 11 March, that will no longer be the case.” And so it has proved. Oppenheimer won seven awards, including Best Film, Best Director, Best Actor and Best Supporting Actor. The only accolade that it might reasonably have expected to take that it was disappointed in was Sound, but The Zone of Interest deservedly nabbed that one.

This Sunday, the annual orgy of back-slapping, expensive frocks, frenzied behind-the-scenes campaigning and self-promotion will finally climax with the 96th Academy Awards, taking place at the Dolby Theatre in Hollywood. The ceremony itself is perhaps the most predictable and consequently least exciting for years. Barring an upset of unimaginable proportions, Oppenheimer will win Best Film and Best Director, and its co-star Robert Downey Jr. will win Best Supporting Actor — a popular award for a popular figure — and Da’Vine Joy Randolph will win Best Supporting Actress for The Holdovers.

The Barbenheimer phenomenon — thought of by many as just idle chatter on the internet — has enduring power. Last weekend, Barbie and Oppenheimer earned a combined $511 million in global box office receipts; an unprecedented number where neither film is a superhero picture or a sequel. Barbie made more money, on the grounds that it’s an hour shorter and is PG-13 rated, but the vast box office success of the R-rated Oppenheimer, which made over $170 million in its opening weekend, is testament both to Barbenheimer excitement, and to the film’s very own brand: its powerful writer-director-producer, Christopher Nolan.  James Cameron aside, it is hard to think of any filmmaker who wields such power and influence in contemporary Hollywood.