Coloradans are leading some of the biggest categories at the Oscars this year, with natives of the state and Colorado-based creatives crossing their fingers in advance of the 97th Academy Awards.

That includes Glenwood Springs native Brady Corbet, who’s vying for Best Director with his A24 film “The Brutalist” — itself nominated for 10 awards overall — and Colorado Springs native Chris Sanders, whose DreamWorks Animation film “The Wild Robot” is up for Best Animated Film.

So how will they fare on Sunday, March 2? We’ll see when the telecast begins at 5 p.m. on ABC and Hulu, but there are some hints already: Oscars voters have historically been inconsistent in their love for Colorado and Colorado-related projects.

Over the last decade-plus we’ve seen important wins in Best Documentary category (“Navalny,” “Icarus,” and “Saving Face”) and nominations that honor creatives in front of and behind the camera.

But some of our biggest homegrown directors — Scott Derrickson (“Doctor Strange,” “The Gorge”), Rian Johnson (“Knives Out,” “Star Wars: The Last Jedi”), and Jon Watts (Marvel’s Spider-Man films) — also have been ignored due to the Academy’s habit of dissing sci-fi, fantasy, horror, comedy and other non-dramatic genres (this year’s camp-horror title “The Substance” notwithstanding). No matter how good the work, Oscars voters traditionally stay away from fun, fantastical fare.

Colorado is an international ramp for Oscar hopefuls, with the Telluride Film Festival often building buzz for prestige films, while others, such as Aspen Shortsfest, serve as Oscar-qualifying events. That ramp could become even more important if the Sundance Film Festival chooses to move to Boulder for the star-studded event starting in 2027. A decision on that could come as soon as March.

Here are three Colorado-related features to pay attention to Sunday. Note: “Anuja,” by Metropolitan State University professor Adam J. Graves and producer Suchitra Mattai, is also nominated for Best Live Action Short Film.

Brady Corbet’s “The Brutalist”

This historical epic was a Best Picture and Best Director favorite when nominations were first announced in January, owing to the critical rapture for the 3 1/2-hour film about an architect who flees Hungary for the U.S. after World War II. The film also netted nominations for Best Actor (Adrien Brody), Best Original Screenplay (Corbet and filmmaker/partner Mona Fastvold), Best Supporting Actress (Felicity Jones), Best Supporting Actor (Guy Pearce), Best Original Score, Best Cinematography, Best Production Design, and Best Film Editing.

Will it win?

Yes, and no. It’s likely going to lose Best Director, and possibly Best Picture, to Sean Baker’s drama “Anora,” or even the pulpy religious thriller “Conclave.” “The Brutalist’s” shine dulled a bit in late January when its editor revealed generative AI was used to smooth some of the actors’ Hungarian accents. That may also hurt its trio of nominated actors’ chances.

However, the script is a savvy meditation on America’s promises and pitfalls, the shots are stunning, Daniel Blumberg’s score haunts indefinitely, and the production details are monumental by any standard. It’s unlikely to get shut out entirely, even among other multi-nominated films such as “Emelia Pérez” (13 nominations) and “Wicked” (10).

Chris Sanders’ “The Wild Robot”

Colorado Springs native Sanders has been operating at a high level for years, having created and directed Disney’s “Lilo and Stitch” (2002) before moving over to DreamWorks Animation for “The Croods” (2013) and the massively successful “How to Train Your Dragon” (2018) — itself Academy Award-nominated, and soon to receive a live-action adaptation.

This may not be Sanders’ first rodeo, but it may well be his wildest, given that his painterly, nuanced adaptation of “The Wild Robot” (by novelist Peter Brown) is the current favorite.

Will it win?

Yes, at least in its biggest category. Its most notable competition is the innovative “Flow,” but Sanders’ film is also the only animated feature this year nominated for a trio of awards, with nods for the original score (by Kris Bowers) and in the Sound category. That’s all the more impressive when you consider the score is up against non-animated features such as the music-heavy “Wicked” and Corbet’s “The Brutalist.”

The Sound category also puts “The Wild Robot” in competition with “Dune: Part Two,” “Wicked” and the Bob Dylan biopic “A Complete Unknown,” among others. It likely won’t win those categories, but that shouldn’t sting too much if it takes home Best Animated Feature.

Paula Dupre Pesman’s “Porcelain War”

Boulder-based producer Paula DuPré Pesmen snagged yet another nomination for Best Documentary Feature with “Porcelain War,” which follows Ukrainian artists living through the years-long aggression and destruction from Russia’s invasion.

She shares the nomination with producers and co-directors Brendan Bellomo and Slava Leontyev, as well Aniela Sidorska, and a win would add another statuette to a mantle that includes the 2010 documentary Oscar win for “The Cove.”

Will it win?

Probably. The war in Ukraine is top-of-mind right now, as it has been for weeks, and Oscar voters love timely social-political themes; see also the war-related narrative features that have won in recent years, such as “1917” and “All Quiet on the Western Front.”

Pesman’s film is up against “No Other Land,” which chronicles an alliance between a Palestinian activist and an Israeli journalist — and which represents its most direct competition. The other nominees — “Black Box Diaries,” “Sugarcane,” and “Soundtrack of a Coup d’Etat” — are currently trailing “Porcelain War” and “No Other Land” in critics’ polls.

Pesmen’s past nominations and win means something to the Academy, but the docs category is also a place to lift up first-time and less established filmmakers, so it’s far from a lock. “No Other Land” could well edge everything out, but “Porcelain War” is looking mighty strong at the moment.