16 possible Best Supporting Actress contenders for the 2023 Oscars

Sure, our picks are alphabetical, but what a way to start this list. Angela Bassett isn’t just a queen offscreen, she’s now one of cinema’s mightiest royals thanks to the Black Panther franchise. A one-time nominee, for What’s Love Got to Do With It, Bassett proved her indelibility in the emotional sequel , featuring her Queen Ramonda, who exudes seething fury, quiet outrage, and most of all, grief. If it were up to us, we’d also throw Danai Gurira into the supporting actress mix for her big scene opposite Bassett, this film’s most stunning turning point.

Coming off a historic first for a streaming platform with Coda, Apple TV+ is surely eager for another win. While the studio’s 2022 releases Cha Cha Real Smooth, Raymond & Ray, and Causeway have earned due praise, it’s Antoine Fuqua’s abolitionist drama that feels most likely to earn attention again from the Academy. If the film’s star, reigning lead actor winner Will Smith, makes for an , perhaps voters will opt for the standout supporting turn from his character’s partner Dodienne, played with undeniable power by relative unknown Charmaine Bingwa.

The main takeaway from Sarah Polley’s isn’t the issues it presents Academy nominators—it’s that the film is a profoundly astute and emotional story about Mennonite women, well, talking. But it’s hard to avoid the fact that an ensemble film made up of mostly women will inherently struggle to anoint performers all lumped into the same category (a problem the cast’s lone man, , may ironically benefit from). With no ensemble acting prize on the table, perhaps Oscar will greet Jessie Buckley again after The Lost Daughter, given the cold fury and sense of entrapment she delivers in this stunner of a film.

A24’s is riding into awards season after a glowing reception at the Venice Film Festival and recognition from the Gotham Awards (though, notably, not Film Independent’s ). While leading man Brendan Fraser’s Hollywood comeback has made headlines, Hong Chau is frequently mentioned in the same breath; as Liz, best friend and nurse to Fraser’s Charlie, the actor brings her charisma and emotional nuance to the screen like never before. Chau, whose breakthrough performance in came oh-so-close to an Oscar nomination a few years ago, has since turned in stellar work in Watchmen, Driveways, and this year’s , so her time to join the Academy’s ranks may finally have come.

There are equal parts elegance, melancholy, and funny frustration in Kerry Condon’s Siobhan, the too-smart-for-her-own-good sister to Colin Farrell’s Pádraic in . She delivers Martin McDonagh’s hilarious-yet-bleak dialogue with panache, especially in a scene opposite Brendan Gleeson’s Colm, where Siobhan finally spits out the truth about the men on this godforsaken island: “You’re all dull!” Dear Academy of Motion Pictures Arts and Sciences, please don’t miss your chance to nominate this wonderful talent.

Young Frankie Corio earning nominations at the upcoming Gotham Awards, British Independent Film Awards, and Spirit Awards is all the more remarkable when you consider is her debut feature film. Then again, her lack of affectation is part of what makes her such a naturally compelling screen presence. Corio more than holds her own against a never-better Paul Mescal, guiding the audience through the ups and downs and fantasies and realities of a complicated father-daughter relationship that unveils painful and wonderful truths about the film’s writer-director Charlotte Wells.

Is in the Academy’s mix at long last? If so, it’s to the credit of this screen legend’s breadth of talent that no one would bat an eye at tax auditor Deirdre Beaubeirdre becoming her first Oscar-nominated role. And just when you think she’s providing the comic relief of , lumbering around a dreary office with paper stapled to her head (channeling her Halloween arch-nemesis Michael Myers), Curtis serves a gut-punch of surprising melancholy, digging past the character’s cartoonish looks to play a recognizably real woman.

Dolly de Leon is an award-winning actor whose award-winning may no longer be confined to her home country of the Philippines. Of all the surprising elements in Ruben Östlund’s eat-the-rich satire , she leaves the biggest impression, thanks largely to the fact that the film’s third and final act is hers to own. As Abigail, who evolves overnight from cruise ship toilet manager to cutthroat desert-island matriarch, de Leon has more than a few powerful scenes tailor-made for that coveted clip played after one’s name at every Oscar ceremony.

If Oscar voters want something more than the nuanced frustration Jessie Buckley brings to her character, they may opt instead for Claire Foy, who dials the maelstrom of emotions facing these Mennonite victims up to 11. Mere moments into Sarah Polley’s masterful film, the Emmy winner is practically clawing her way through the screen—a display of righteous fury that never feels overdone, only remarkably convincing.

People are running out of superlatives to describe Cate Blanchett’s eponymous role in , but she may not be the sole acting nominee from Todd Field’s astonishing classical music character study; supporter Nina Hoss, as Lydia Tár’s wife Sharon, has quietly been gaining momentum with Gotham and Spirit Award recognition. The German star of stage and screen is no stranger to awards shows, and would fit right in as a 2023 Supporting Actress Oscar contender. Like everything else in Tár, we catch only glimpses of Sharon and her growing sense of unease, and it takes an actor as astute as Hoss to hint so convincingly at what’s underneath.

Of all the supporting actress contenders on this list, Stephanie Hsu may have had the biggest breakout of 2022. Heretofore known for mostly her stage work, the now-rising screen ingenue had audiences clamoring to see more of her after the Daniels’ , where she played not one but two roles: frustrated daughter Joy and all-powerful evil (and goofy) Jobu Tupaki. Here’s hoping Oscar voters feel the same way.

Nicole Kidman delivered a monologue on the big screen this year that was so powerful, it practically had cinema audiences standing up to applaud. And no, we’re not talking about her AMC ad (but if the Oscars could somehow come up with an honorary statuette for that, yes please). may have come out too early in the year and been met with too many mixed reviews, but that doesn’t mean Kidman’s swing-for-the-fences portrayal of Queen Gudrún isn’t worthy of a sixth Oscar nomination. In just one climactic scene, she doesn’t so much steal the show in Viking epic; she chews up and spits out anyone and anything that could possibly upstage her.

Outsized, outrageous, positively brimming with decadence—maybe the reason Li Jun Li makes an Oscar-worthy impression in the 1920s-set Hollywood drama is that she serves us a performance in such contrast to the proceedings. She’s positively mesmerizing as the sultry Lady Fay Zhu, impeccably made-up and with cigarette sizzling just so. Keep your bombastic Brad Pitt and rowdy Margot Robbie; Li is the real standout of Damien Chazelle’s starry-to-the-point-of-blinding ensemble.

It’s technically a good problem to have, but joins the ranks of 2022 films with such impressive ensembles of mostly women that it becomes difficult to single out any one star in an actress award category. Viola Davis is the undisputed lead of depiction of the real-life 1820s Agojie warriors, but who to champion in the supporting slot? We’re all in for Lashana Lynch’s fierce Izogie, the kind of big-screen hero whose victories make your heart soar and whose defeat makes your heart break.

In retrospect, it makes perfect sense to team Janelle Monáe with Rian Johnson. A pop star with a flair for the dramatic and a proven sense of comedic timing in Hidden Figures, Monáe fits right into Johnson’s Knives Out world, particularly opposite Daniel Craig’s detective Benoit Blanc. There’s not much we can reveal about Andi, one of murder mystery party guests, but suffice it to say Monáe manages to command the spotlight amid a cast of performers with far longer resumes. If anyone in this star-studded ensemble were to earn Academy recognition, it would be them.

Hollywood and its awards voters love the kind of offscreen narrative Gabrielle Union is currently receiving for her work in Elegance Bratton’s . As Inez, mother to a gay son determined to earn her approval by joining the U.S. Marines, this is the Bring It On star like we’ve never even come close to seeing her before. Unglamorous, hawk-eyed, and coherently balancing both love for her son and disgust at what she sees as his lifestyle, Union successfully makes the leap from the popcorn entertainment she’s known for to the prestige cinema she can clearly handle.