A soothsayer in Shakespeare’s “Julius Caesar” famously warned “Beware the Ides of March” but what about the Oscars on March 15?

Yes, the live ceremony broadcast around the globe from Hollywood may be many months away, but the campaigning? It’s been in full force for months.

With the Venice Biennale now viewed as the start of the too-long-for-words Awards Season, already critics groups have announced winners, hoping to be relevant. Now it’s barely a month to the broadcast ceremonies. First, the Critics Choice Awards (Sunday, Jan. 4) and the following Sunday, Jan. 11, for the Golden Globes.

Who are the frontrunners for the mightiest Oscar? The only winner that gets a significant box-office boost from the award is Best Picture.

With 10 nominations, it’s the one category that can embrace a multitude of styles.  As of now, there are two solid sureshots: Paul Thomas Anderson’s epic-sized revolutionary riff “One Battle After Another” with Leonardo DiCaprio and Ryan Coogler’s epic-sized “Sinners,” a historical horror show starring Michael B. Jordan as twins.

A third lock is Norway’s “Sentimental Value,” the most traditional-style contender, a classic family drama buoyed by a cast that looks to be showered with Oscar nominations.

Once movies were nominated because they were about serious subjects. That’s not exactly enough today but Kathryn Bigelow surely leads the pack with a nod for “A House of Dynamite,” the first major release in years to consider the implications of global destruction via a nuclear accident.

There are no less than three Big Deals hoping for Oscar attention. Two are sequels, all were made knowing they have built-in audiences, a rarity.  Does that mean that “Wicked: For Good,” Guillermo del Toro’s “Frankenstein” and James Cameron’s “Avatar: Fire and Ash” will be elevated into the nominated pantheon?

Or will they be consoled with a surplus of inevitable technical Oscar nominations reflecting their grand budgets?

Yes, moviegoers have pretty much deserted the cineplex to stay home with streaming. Too many highly touted arthouse entries have failed to connect with their target audiences, much less expand to become hits. Oscar voters tend to lose attention to movies that fail to matter financially.

That means the Shakespearean drama “Hamnet,” the two bruising wrestling/boxing psychological bios – “Christy” and “The Smashing Machine” – and “Bugonia,” about a woman kidnapped by conspiracy theorists convinced she’s an alien, currently occupy Oscar’s limited attention band.

Foreign language films hoping not just to be noticed among the 5 for Best International Film but as Best Picture? France is betting on exiled Iranian filmmaker Jafar Panahi’s “It Was Just an Accident.” Tunisia has “The Voice of Hind Jahar” and Brazil, “The Secret Agent.”

As for upcoming dark horses like the true crime hostage drama “Dead Man’s Wire” and “Marty Supreme”?  Stay tuned.