Hollywood is finally free. After months of campaigning, the 2018-2019 awards season has come to an end, culminating in a hostless Oscars that was, all things considered, pretty smooth sailing until Green Book—the season’s most divisive film—won best picture. But it’s over! That’s that! Another season has come and gone, leaving industry figures free to forget about the Oscars. Except, of course, for one small problem: in the industry, no one is ever not thinking about the Oscars. And now that the 2019 ceremony is over, we may as well look ahead—way ahead!—to the 2020 ceremony and take a stab at guessing which films will be up for gold next year.

Let’s start with the films that made an impact at Sundance (a more comprehensive take on which can be found here). Take The Report, a political thriller about an investigation into C.I.A. torture methods, starring perennial Oscar nominee Annette Bening as Dianne Feinstein as well as Adam Driver. This film, confidently picked up by Amazon for some $14 million, has Oscar buzz written all over it, thanks to its ensemble (Bening has “It’s Her Time” syndrome, although we all saw how well that wound up working out for Glenn Close) and writer-director Scott Z. Burns.

The streamer also spent quite a bit on two other critical hits with crowd-pleasing potential. The first is Late Night, the Mindy Kaling dramedy that seems poised to at least get a best-original-screenplay nod if everything falls into place, while star Emma Thompson, a two-time Oscar winner, could maybe eke out a nod for herself. The second is Brittany Runs a Marathon, a Jillian Bell-starring dramedy about a flailing millennial that could also have screenplay potential. (If The Big Sick could do it, why not Brittany?)

Outside of Amazon picks, there’s also Clemency, the Grand Jury-winning drama directed by Chinonye Chukwu and starring Alfre Woodard—who, like Bening, is in the “Long Overdue for an Oscar” camp. But Clemency has yet to be picked up by a distributor, so it’s unclear if the film will ever get big campaigning power behind it, let alone a day in theaters.

While we’re looking at Sundance, let’s also appraise two projects picked up there by best-picture-winning distributor A24: The Souvenir and The Farewell. The former film stars Tilda Swinton and her real-life daughter, Honor Swinton-Byrne, and revolves around a complicated love story—critics ate it up. There’s room for acting accolades for both of the ladies Swinton (imagine the delightful way these two would navigate the throes of awards campaigning!) and co-star Tom Burke, as well as potential nominations for writer-director Joanna Hogg.

The Farewell has similar appeal, starring current golden girl Awkwafina as a young woman who finds out her grandmother only has a short time to live. Written and directed by Lulu Wang, the well-reviewed film could give the actress her first big awards push, after having a breakout year in films like Crazy Rich Asians and Ocean’s 8. Should things go really well for these two films, perhaps The Farewell and The Souvenir could even fight their way into the best-picture race, avenging snubbed A24 films like The Florida Project and Eighth Grade.

Now, on to a few films that cater directly to Academy voters and will be sure to have muscular campaigns behind them. There’s no better place to start than A Beautiful Day in the Neighborhood, the Fred Rogers movie starring Tom Hanks as the beloved children’s programming host. Directed by Marielle Heller—snubbed this year for the finely wrought Can You Ever Forgive Me?—this film has easy potential to land a best-actor nod, as well as best director for Heller. (Granted, this is all pure speculation, as the film is not even complete yet.) Same goes for Greta Gerwig’s upcoming remake of Little Women, which on its face seems like a prime candidate for best director, best adapted screenplay, best costume design, and best actress (for Saoirse Ronan—who, with three Oscar noms under her belt, is gunning for Kate Winslet’s old record for the youngest actress with the most nods). Gerwig’s Lady Bird famously walked away empty-handed at the 2018 Oscars (a true injustice!), so this literary rebound feels like a surefooted choice to get the Academy’s attention.