From Marty Supreme to One Battle After Another, this awards run has been populated by a harder-to-love group of spiky characters

Broadly speaking, the best way to get an acting Oscar is to play someone lovable, or someone lovably hateable. Not every acting winner fits that binary, of course, but the history of all four categories is filled with fascinatingly bad behavior (Anthony Hopkins in The Silence of the Lambs, Louise Fletcher in One Flew Over the Cuckoo’s Nest, JK Simmons in Whiplash) as well as expressions of sheer delight at the combination of actor and lovable character (Diane Keaton in Annie Hall, Tom Hanks in Forrest Gump, Gwyneth Paltrow in Shakespeare in Love). This year’s crop of acting nominees isn’t exactly short of rooting interests: Michael B Jordan makes his pair of 1930s gangsters charming twice over in Sinners while still distinguishing between their individual nuances, and Benicio del Toro’s even-keeled activist is highly lovable in One Battle After Another. Elsewhere, though, there’s definitely a stronger-than-usual strain of characters who defy the usual standards of easy likability.

The importance of likability in an Oscar campaign is akin to its importance in a political one – though in the case of the Academy awards, performers are campaigning twice, for themselves as actors and, essentially, for their characters as part of the cinematic firmament. That’s why likability is arguably the secret accelerant to the longtime trend of the awards going to actors playing real-life figures. It’s not just about a physical transformation or seamless impersonation, because many of those biographical performance aren’t really that when you put them side by side with the real thing. It’s that extra rooting interest that comes from embodying Freddie Mercury, Winston Churchill, Stephen Hawking, Abraham Lincoln, Judy Garland – people who Academy voters probably already like or admire to some degree, at least in the abstract. Suffering, too, can help create an easier sense of empathy.

Ein türkischer Amateurfußballer reanimiert einen abgeschossenen Vogel, Kate Hudson will beim Schlussmachen nicht viel rumreden, und Jessie Buckley erzählt von einem geheimnisvollen Gönner.

After years as Hollywood’s romcom darling, Hudson is putting music at the centre of her career – and after her show-stealing turn in Song Sung Blue, the Oscar buzz is growing

The first voice I hear when I enter the hotel room to meet Kate Hudson belongs to her 21-year-old son, Ryder, who speaks from the end of a phone: “Love you, Mum!”

Doesn’t everyone? You don’t have to be related to Hudson to consider her a joyous proposition – a great performer who hasn’t yet made a great film. It was a quarter-century ago in Almost Famous, her breakthrough picture, that she first proved she could hoist a movie out of the doldrums while making the task appear as effortless as blow-drying her hair. Without her performance as Penny Lane, the rock’n’roll muse who describes herself as a “band-aid” rather than a groupie, Cameron Crowe’s dopey valentine to the 1970s of his youth would have been Almost Forgettable.