Weeks before the Oscars were handed out Sunday, studios were already taking meetings with awards consultants for next year’s best picture contenders. What movies might we be hearing about again (and again … and again) later this year? An early stab at a top 10, in alphabetical order:

“Brooklyn,” (Fox Searchlight, release TBA): Searchlight paid $9 million at Sundance for this exquisite immigrant love story — and that might end up being a bargain price. Set in 1950s New York, it follows a homesick Irish woman (Saoirse Ronan) struggling to adapt to her new life until she meets a sweet Italian plumber (Emory Cohen). It’s beautifully crafted, emotionally turbulent and sports a superb lead turn by the 20-year-old Ronan, making good on the promise she first showed in “Atonement.”

“Carol,” (The Weinstein Co., fall): The latest from Todd Haynes (“Far from Heaven”), a drama about a married woman (Cate Blanchett) embarking on a lesbian romance with a younger woman (Rooney Mara) in the early 1950s, will likely premiere at Cannes this May.

“Demolition,” (Fox Searchlight, fall): Director Jean-Marc Vallee (“Dallas Buyers Club,” “Wild”) knows how to win Oscar nominations for his actors, which might mean Jake Gyllenhaal will finally get his due for this drama about an investment banker widower whose world is changed when he meets a single mother (Naomi Watts).

“In the Heart of the Sea,” (Warner Bros., Dec. 11): Ron Howard’s historical thriller about the 1820 sinking of the whaleship Essex was moved to a prime awards release date after being initially slated for March. The studio has a strong history of turning quality commercial movies (“Argo,” “American Sniper”) into Oscar contenders.

“Joy,” (20th Century Fox, Christmas): David O. Russell. Jennifer Lawrence. They’ve been to the dance together twice before (“Silver Linings Playbook,” “American Hustle”), so why doubt this biographical dramedy about the Long Island single mom who invented the Miracle Mop?

“Money Monster,” (TriStar, TBA): George Clooney plays a self-serving TV stock huckster (paging Jim Cramer!) taken hostage by a gunman on air and forced to come clean. Jodie Foster directs; Julia Roberts costars. Expect Clooney to have plenty of fun promoting this one.

“The Revenant,” (20th Century Fox, Christmas): In between stocking his mantle with awards, “Birdman” director-producer-writer Alejandro G. Inarritu spent the past few months shooting this revenge-themed western about a frontiersman (Leonaro DiCaprio) mauled by a bear and left to die by his companions. Expect to see plenty of Inarritu again on the awards circuit.

“St. James Place,” (Touchstone, Oct. 16): Steven Spielberg’s Cold War historical thriller reunites him with Tom Hanks, who plays attorney James Donovan, the man asked to negotiate the release of Francis Gary Powers, the pilot of the U-2 spy plane shot down in Soviet airspace in 1960.

“Steve Jobs,” (Universal, Oct. 9): That biopic of the Apple co-founder that caused so much consternation between producer Scott Rudin and then-Sony studio head Amy Pascal will arrive in October via Universal and director Danny Boyle. Michael Fassbender stars. Burning question: Will Angelina Jolie be invited to the premiere?

“Suffragette,” (no distributor yet): This British production doesn’t have a U.S. distributor yet but it does feature Meryl Streep and Carey Mulligan playing women fighting for voting rights in England in the early 1900s. And it’s directed by a woman, Sarah Gavron. You did see the reaction to Patricia Arquette’s speech at the Oscars, right?

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Photoshoots > Photoshoots from 2015 > Session 05

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Photoshoots > Photoshoots from 2014 > 2014: Session 02

One of the youngest actresses to be nominated for an Oscar, it was clear from the outset that Saoirse Ronan was destined for big things, and that’s before you throw her actor father Paul Ronan into the mix. Earning the election at just 13 for her role in 2007’s Atonement, she went on to star alongside the likes of Susan Sarandon (in 2009’s The Lovely Bones) and Cate Blanchett (2011’s Hanna). Now, at just 20 years old, Ronan already has a reputation for role picking done right.

When we catch her jetlagged and cocooned in blankets on a sofa in her home in Ireland, Ronan is doing what any sensible girl would do: indulging in a 24-hour marathon of Homeland, her latest obsession. We talk through upcoming films Stockholm, Pennsylvania and Brooklyn, dream director collaborations and why integrity is paramount.

Wonderland: Talk us through the films you have coming out.
Saoirse Ronan: At the start of the year I did Stockholm, Pennsylvania. It’s a tiny film written and directed by Nikole Beckwith. It was her first time directing and we did it in 19 days, on a million dollar budget. I’d never done anything like that before. It was interesting to see how somebody, especially a new filmmaker, could handle that kind of pressure. After that I had about a week off, before moving onto Brooklyn.

W: It’s certainly intriguing. What’s the role like?
S: Stockholm is about a girl called Leia who’s in her early twenties. At the start she’s rescued, after seven years, from her kidnapper, who raised her in a basement. She has never seen the light of day until she is handed back to her biological parents in the second scene, but she doesn’t know these people. It’s mainly about the relationship between Leia and her mother, and how she doesn’t see why it’s wrong to be completely in love (in a childlike way) with her kidnapper, despite what he did. Her mother, played by Cynthia Nixon, spirals out of control, imprisoning Leia in a different way. Both films are centred on women. Brooklyn is based on a book by Colm Tóibín. It’s set in the 1950s and follows Eilis Lacey’s journey to New York to start a new life. It follows immigrants and Irish people in general, who made that trip, showing its difficulties, wonders and heart-breaks. I’ve never been so affected by a film before. The screenplay was written by Nick Hornby; it’s a gorgeous and very simple take on life.

W: He does it so well, doesn’t he?
S: He really does. It spans two years of Eilis’s life within the first half hour – going over to New York, getting a job and meeting a boy, before a family tragedy brings her home after a few months. It’s about how her relationship with home has changed, which I really got. Once you move away from home, it’s never quite the same again. You expect everything to be just as you left it, and it never is. It’s almost the first step into adulthood, realising you’ve got to make your own way.

W: You’ve picked two quite independent films to star in. How do go about choosing roles?
S: The story always comes first – it’s paramount. A lot of actresses who I’ve worked with have said that this is a tricky age – you can’t quite do the coming of age roles anymore, or maybe you don’t want to, and nobody has seen you as a young woman yet. Brooklyn was perfect for me. I’ve done a couple of biggish movies, but it was never down to exposure or money. I remember there was a toss-up between a big action film and Atonement, but I knew what I wanted to do. People make different decisions regarding their work, for different reasons. I keep it as simple as I can.

W: How did you stay rational about being nominated for an Oscar so young?
S: I was 13, so I didn’t think about it. It would be different now as I’m more aware of how the industry works. It’s amazing to look back on. I think Atonement was a very important film for all involved. It was really exciting to be on a film set with people who have won like 12 Oscars, but I knew I wasn’t going to win.

W: Do nominees know that kind of thing?
S: Yeah, I had an insider! No, I just I knew. I was in a category with Tilda [Swinton], Cate [Blanchett] and Amy Ryan, so I knew one of them would win. But it was amazing to be in the front row at the Academy Awards with my parents.

W: How did your dad prep you for the Oscars? Obviously he knows the game, so to speak.
S: He hadn’t really been to any award shows apart from the Iscars, which is the Irish Oscars. It’s just as good, obviously. It’s like a huge wedding that everyone in the Irish film industry is invited to…

W: Like The Godfather or something?
S: Yeah, basically. It’s like the Irish Godfather awards! So the three of us went [to the Oscars] not knowing what to expect. It’s definitely on a bigger scale than any other award show, another realm altogether. At one point John Travolta and his wife were in front of us. If I met him now, I’d be more excited because I love Saturday Night Fever and Grease so much. My mum went to see Saturday Night Fever at the cinema 27 times when it first came out – she’s obsessed. When they said hello to us, it absolutely made her night.

W: You were a front-runner for the role of Katniss in The Hunger Games. How do you feel about that in retrospect?
S: I love Jennifer Lawrence – she’s done an incredible job with the film. A lot of girls auditioned for it, it wasn’t like I was offered it and turned it down or anything. I only auditioned. It was years ago, so I’m fine about it.

W: If you had the choice, which directors would you like to work with next?
S: I would love to work with Lenny Abrahamson, he’s an Irish director. He just did Frank and he’s made some of the best Irish films, including my favourite, Adam & Paul. I like it when Irish filmmakers’ work is unrelated to Ireland. Jonathan Glazer is really brilliant as well and obviously I want to work with the legends: Tarantino, Spielberg and Alexander Payne…

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Gallery links:
Photoshoots from 2013 > 2013: Session 08

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Photoshoots from 2013 > 2013: Session 07

At just 19 years old, Saoirse Ronan already has a more diverse resume than many actresses three times her age. She was nominated for an Academy Award for Best Actress for Atonement (at 13!), played a brutally-murdered teen in The Lovely Bones, and starred as a steely young assassin in Hanna. Off-screen, the Irish beauty’s style is as eclectic as her film roles. Equally polished and edgy, Saoirse glams up the red carpet with ease and grace—and just the right amount of swagger. This month, she stars alongside fellow style star Diane Kruger in sci-fi romance The Host, based on the book by Twilight author Stephenie Meyer. She took a few minutes out of her time stateside to talk favorite costumes, prissy dressing, and worshiping Tilda Swinton.

WWW: What does it mean to you when you get into costume for a film?
SR: I think it’s a really important part of building a character. To have time with the costume designer and director before you begin shooting is wonderful. Sometimes you’re building a character from outside in, and you take in the physicality of the person you’re playing through your clothes. They’re a big part of who the person is.

WWW: What has been your favorite movie wardrobe so far?
SR: My favorite was on How I Live Now. I was playing a girl from New York City with bleached blonde hair and piercings, and as soon as I put my leather jacket and creepers on I really felt like I could have an attitude.

I always have a special place in my heart for the yellow bell-bottoms that I wore for The Lovely Bones, but I wouldn’t wear that stuff out.

WWW: Describe your personal style.
SR: Very casual, very low key. Not prissy. Always something that has a bit of an edge.

WWW: What’s something you’d never wear?
SR: I’m not into really pretty pink things. When I was younger, I went shopping with my mum, and she brought this pink dress over, and it had these big puffy sleeves. I was only two, but I said: No, no, no! It’s too prettiful!

WWW: What style risk would you like to take?
SR: I’d love to wear Doc Martens on a red carpet.

WWW: Who are some of your fashion icons?
SR: Diane Kruger has great style. I love the stuff Tilda Swinton wears on the red carpet. She’s very much herself, and I love to see someone like that who wears trousers and such on the red carpet. Kate Moss, obviously. I do really love London fashion as a whole. To see designers like Simone Rocha over there who are very edgy—it’s really cool, the epitome of great style.

WWW: Would you ever dress like Tilda?
SR: I don’t see why not. I definitely look to her and think you should be able to wear whatever you want, instead of sticking to the roads of the red carpet which a lot of people do. It’s quite boring. If you want to wear an anorak over a dress, why not?

Update: After doing some resource we think that the new outtake of Saoirse sitting on the chair was taken during the same photoshoot session as the new outtakes released of her in the brown dress. Sorry for the mix up.

Gallery links:
Photoshoots from 2013 > 2013: Session 05

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Photoshoots from 2013 > 2013: Session 04