Cannes was a place for art house films in a wide variety of languages, while the Oscars celebrated English-language films from America or the UK.

But in recent years, that gap has begun to close — Cannes has occasionally screened more mainstream fare, and Oscar voters have increasingly embraced artier pics, not least because the Academy, once largely a club of Hollywood-based members, has deliberately become a much more international organization.

How many — and which — of the films at this year’s Cannes Fest would take the Oscar route–as nominees or contenders?

The prime contender with pedigree undeniable — is Killers of the Flower Moon, a film about murders in the Osage Nation during the 1920s. Directed by Martin Scorsese, who co-wrote it with Eric Roth, it stars his two muses, DiCaprio and De Niro, plus Brendan Fraser — Oscar winners all — as well as Lily Gladstone and other Native American actors.

The film’s budget ($200 million) and length (well over three hours) are a bit disconcerting, but backers Paramount (U.S. theatrical) and Apple (worldwide streaming) are certainly bullish about it.

Scorsese, whose 1976 film Taxi Driver won the Palme d’Or, has opted to screen it out of competition–so it’s going for the sort of buzz that Elvis and Top Gun: Maverick got when they screened out of competition at last year’s fest en route to best picture Oscar nominations.

Todd Haynes, whose May/December is competition title, is one of the fest’s most anticipated sales titles. It’s the story of an actress (Oscar winner Natalie Portman, also an EP) who visits the woman she is set to play in a film (Oscar winner Julianne Moore, Haynes’ repeat collaborator, most notably on 2002’s Far from Heaven).

Jonathan Glazer doesn’t have an Oscar track record — his last film, 2013’s Under the Skin, was embraced by many critics, but not awards groups — but that won’t keep many from speculating about his competition entry The Zone of Interest, which is adapted from Martin Amis’ 2014 novel of the same name about a Nazi officer infatuated with the camp commandant’s wife, played by Sandra Huller (Palme winner Toni Erdmann).

Given that Huller is starring in another competition film, as well, Justine Triet‘s Anatomy of a Fall, as a woman trying to prove her innocence after her husband’s murder, she may be one to watch in the best actress race.

Among the non-English-language in competition are 3 films from directors of past Palme winners: Monster, Hirokazu Kore-eda’s first Japanese-language film since his 2018 Palme-winning and Oscar-nominated Shoplifters; About Dry Grasses, Nuri Bilge Ceylan’s Turkish-language portrait of a teacher accused of abusing a student; and Perfect Days, Wim Wenders’ Japanese-language assemblage of four short stories.

Finnish maestro Aki Kaurismäki returns to competition with Fallen Leaves, a tragicomedy that marks the latest installment in his “Proletariat” series.

Two Italian-language films are also in the running: La Chimera, starring Josh O’Connor and Isabella Rossellini and directed by Alice Rohrwacher, whose live-action short that premiered at last year’s Cannes, Le Pupille, went on to an Oscar nom; and the dramedy A Brighter Tomorrow, which was co-written, directed by and starring Nanni Moretti, and which has already theatrically released in Italy.

Strong non-fiction films occasionally come out of the fest, such as 2002’s Bowling for Columbine, 2003’s The Fog of War, 2010’s Inside Job and 2015’s Amy, all of which would win the best documentary feature Oscar.

This year, it feels like one should keep an eye out for Occupied City, an epic chronicle of Nazi-occupied Amsterdam, which was directed by Oscar winner Steve McQueen and will be distributed by A24 (not in competition); and the Arabic-language Four Daughters, in which actresses play the two missing daughters of a Tunisian mother (it is).

Animated films almost never screen in competition at Cannes, and Elemental, this year’s fest closer, is no exception. Directed by Peter Sohn, it is the 27th feature from Pixar, which was last at the fest with Inside Out.