96 years of Oscars, 14 international feaure films nominated for Best Picture.
While some awards bodies have already commenced the season, Best Picture is still very much an open race. One of the statistics many predictors consider is the presence of international feature films in the category. Since 2018’s Roma - and save 2020, where Another Round even got into Director - every Best Picture lineup has included one. Last year, history was made, when two international features making it in, with Anatomy of a Fall and The Zone of Interest.
Perhaps this is one of the effects of the inclusivity efforts the Academy has initiated post-#OscarsSoWhite, where they included more world artists into their membership. This year, which international feature films will stand a chance of getting into this year’s Best Picture roster? Consider...
EMILIA PÉREZ (Netflix)
Written and Directed by Jacques Audiard
Release Date: November 1 (limited)
Since its Cannes premiere and win for its actress quartet, this film has been the subject of significant discourse. A musical crime drama about a drug kingpin enlisting the help of a lawyer to help her secure a gender confirmation surgery, this genre smorgasbord is positioned as Netflix’s main contender this season which will ensure it will have a robust campaign machinery. While Emilia Pérez has become a de facto International Feature Film frontrunner after it was submitted by France, the film also received buzz in Actress (Karla Sofía Gascón) and Supporting Actress (Zoe Saldaña). It was also the runner-up for the People’s Choice Award at TIFF. However, thepicture has also received vocal and significant backlash regarding perceived anti-trans representation (even GLAAD chimed in regarding the film). Time will tell how far these criticisms will affect its run in the awards season.
THE SEED OF THE SACRED FIG (Neon)
Written and Directed by Mohammad Rasoulof
Release Date: November 27 (limited)
One of Cannes' most hyped titles, The Seed of the Sacred Fig has caught significant media attention given the narrative of how it was made (production was done in secrecy) and the director itself (Mohammad Rasoulof had to flee political persecution in Iran to make it to the film’s Cannes premiere). The story itself is politically charged; about a newly instated investigating judge who turns against his wife and two daughters once he loses his designated gun. The ripple effects of Iran's political context extends to the actual Oscar race. Gven that the country would never submit it as their official submission for International Feature Film, Germany took the opportunity and ran it as their entry instead. Rasoulof himself has been making the rounds in various events. The film is also from Neon, the distributor that got the first Best Picture win for a non-English language film with 2019’s Parasite.
I’M STILL HERE (Sony Pictures Classics)
Directed by Walter Salles / Written by Murilo Hauser and Walter Salles
Release Date: November 20 (qualifying) / January 17 (limited)
Winning the Screenplay award at the Venice International Film Festival, this political drama is director Walter Salles’ return to filmmaking after a 12-year hiatus. Telling the story of Eunice Paiva, a mother who fights to search for her husband after being a victim of enforced disappearance, I'm Still Here has tapped into the Brazilian zeitgeist with impressive box-office performance (358,000 people in attendance). This also became the country's official submission for International Feature Film. Fernanda Torres has turned into a bonafide contender in a crowded Best Actress race, and with Sony Pictures Classics backing it, the film is a top contender in both categories. However, something gives me pause. I'm Still Here keeps collecting Audience Awards in film festivals, which suggests a potential surge of support and might even become SPC’s top priority (compared to The Room Next Door) as the season rolls along.
ALL WE IMAGINE AS LIGHT (Janus Films/Sideshow)
Written and Directed by Payal Kapadia
Release Date: November 15 (limited)
Right from its Cannes premiere, the story two women living in Mumbai has garnered considerable acclaim and the Grand Prix from the festival's jury. But, despite the overwhelmingly positive critical reception, the film was not submitted for International Feature Film by France (despite being shortlisted) and most notoriously India (where Kapadia herself has been critical of the government). Such matters haven't stopped All We Imagine as Light from making the rounds in various festivals, with Kapadia in attendance in most of them to interact with the audience. Do note that it's being distributed by Janus Films and Sideshow, the distributors behind 2021’s Drive My Car, a film that was catapulted by sheer critical acclaim and a genuine groundswell of support. If that happens to this one as well, All We Imagine as Light could replicate Anatomy of a Fall’s success from last year, getting a Best Picture slot despite not being submitted in International Feature Film.
Do you think any of these films will make it into Best Picture at the Oscars? If so, how many of them are you predicting?