appConfigEntityId

bodyType

customContents

entityId

entityUuid

isVideo

articlePageQuery

article

articleSchemaContent

content

hooksArticlePageAdvertisementConfigArticle

hooksArticlePageFloatingButtonConfigArticle

appConfig

filter

json

liveArticle

Associated Press

For many filmmakers, the Oscars are a pipe dream. But not because they think their films are not good enough.
The exiled Iranian director, Mohammad Rasoulof, for instance, knew his native country was more likely to imprison him than submit his film for the Academy Awards.
Iran, like some other countries including Russia, has an official government body that selects its Oscar submission.
For a filmmaker like Rasoulof, who has brazenly tested his country’s censorship restrictions, that made the Oscars out of the question.

“A lot of independent filmmakers in Iran think that we would never be able to make it to the Oscars,” Rasoulof said in an interview through an interpreter. “The Oscars were never part of my imagination because I was always at war with the Iranian government.”
Unlike other categories at the Academy Awards, the initial selection for the best international film category is outsourced. Individual countries make their submission, one film per country.


Sometimes that’s an easy call. When the category – then “best foreign language film” – was established, it would have been hard to quibble with Italy’s pick: Federico Fellini’s La Strada, the category’s first winner in 1957.
But, often, there’s great debate about which film a country ought to submit – especially when undemocratic governments do the selecting. Rasoulof’s fellow Iranian New Wave director Jafar Panahi likewise had no hopes of Iran selecting his 2022 film No Bears for the Oscars.
At the time, Panahi was in prison in Iran, and wasn’t released until he went on a hunger strike.
Rasoulof’s film, The Seed of the Sacred Fig – a film shot clandestinely in Iran before its director and cast fled the country – was ultimately nominated for best international film. But on March 2, it will be at the Oscars representing Germany, the country Rasoulof made his home in after being sentenced to flogging and eight years in prison in Iran.
“The film, to a large degree, is now a German film, both because of the distribution company and because of all the people who worked on it post-production, including myself,” said Rasoulof. “I’m a person who’s been ripped of his Iranian national identity.”


The Oscars are more international than ever. This year’s lead nominee, Emilia Pérez, is the most nominated non-English language film ever. It is a Mexico-set, Spanish-language film shot outside Paris – a reflection of how borderless film can be. It is France’s Oscar submission.
For the seventh year in a row, a foreign-language film has been nominated for best picture. And for the first time, there are two up for Hollywood’s top prize: Emilia Pérez and the Brazilian drama I’m Still Here.
The historic 2020 win for Parasite, the first non-English language best picture winner, wasn’t just, as director Bong Joon-ho called it then, a victory over “the one-inch-tall barrier of subtitles”.


It was the sign of a tectonic shift in the Academy of Motion Picture Arts and Sciences. To diversify its membership, the academy has in recent years invited hundreds of overseas voters, tipping the Oscar scales.
And yet the Academy Awards’ marquee category for international cinema, best international film, has been continually criticised as unjust, outdated and subject to political interference.
“The Oscars’ international film category is broken,” wrote film critic Alissa Wilkinson in 2020 for Vox. “Nothing short of a total overhaul of the category is in order,” wrote Variety critic Peter Debruge in 2022.
The academy has sometimes tweaked the category, which was renamed in 2020. In 2006, the academy ruled that international submissions no longer needed to be in the language of its home country.
Last year’s winner, The Zone of Interest, was a German-language film set at Auschwitz Nazi concentration camp, but marked the United Kingdom’s first best international film Oscar.


To help guard the process from outside influence, the academy in 2023 specified that each country’s selection committees must be at least 50 per cent composed of “filmmakers, artists and craftspeople”.
But who those people are, and what their subjective sense of national identity might be, has often been in question.
This year, one of the most conspicuous absences from the Oscars is Payal Kapadia’s All We Imagine As Light, an Indian drama that numerous critics have named the best film of 2024. It was the first Indian film to play in competition at the Cannes Film Festival in 30 years.
The committee that will choose which film will be nominated for the Oscars should be independent of the state, because I believe the less the state [is] in art, the better
Renos Haralambidis, Greek filmmaker
The Film Federation of India instead chose Kiran Rao’s Laapataa Ladies, a glossier comedy from Jio Studios that the academy ultimately passed on.
FFI president Ravi Kottarakara told the Hollywood Reporter India that the jury, which was all male, felt All We Imagine As Light was like “watching a European film taking place in India”.
Kapadia, speaking shortly after that decision, praised the choice of Laapataa Ladies while taking issue with the jury’s metric.


“What is Indian? It is a very big continent that we have,” said Kapadia. “There’s a lot of Indias. I’m really happy with the film they chose. It is a really nice film. I liked it a lot. But I feel like these kinds of statements, I don’t know what purpose they serve. The committee that made the selection was 13 men. Is that very Indian?”
Rancour over the Greek selection process led 20 filmmakers to withdraw their submissions for this year’s Oscars to protest at the Greek Ministry of Culture’s sudden replacement of selection committee members.
Renos Haralambidis, one of the filmmakers who withdrew his film, told the Balkan Investigative Reporting Network: “I believe that the committee that will choose which film will be nominated for the Oscars should be independent of the state, because I believe the less the state [is] in art, the better.”
The question for the academy is: does it want this annual drama in the international film category? Should governments, autocratic or not, have any say in what films are in the running for one of the most sought-after Oscars?
The film academy declined to comment for this article.


These are issues the Oscars have long been aware of. Sometimes, the academy has even lent a hand to a country making its first submission.
That was the case when Bhutan established a selection committee so it could nominate Pawo Choyning Dorji’s 2019 film Lunana: A Yak in the Classroom. It surprised pundits and received Bhutan’s first Oscar nomination.
What options does the academy have?
It could make its own international film selection committee, like those that exist in other categories, and remove governments completely from the process.
Some have advocated for expanding the category to 10 nominees, like best picture, and doing away with the one-nation, one-film rule.
Another option: keep the current system but allow for several academy committee-chosen slots so political dissidents are not ruled out.


Such changes would surely be welcome news to those who believed France last year should have submitted Justine Triet’s best-picture-nominated legal drama Anatomy of a Fall, or that India ought to have backed the Telugu-language smash RRR. Both picked up Oscars in other categories.
Regardless, it is clear that geopolitics has increasingly made the best international film award at the Oscars almost as quarrelsome as the rest of our global existence.
For any peace in the category, you would have to look to the Latvian entry, Flow, an animated animal parable nominated for both best international film and best animated film. While it is nominated by Latvia, it contains no language, at all, just a few miaows and some barking.


Mariko Mori’s ‘All That Shines’ at Mori Art Museum: inside her landmark Tokyo exhibition

From Cheng Pei-pei to Michelle Yeoh, Hong Kong cinema’s history of action heroines

How Jet Li’s trainer Wu Bin, 89, ages well and still nurtures martial arts talent

Venice 2026: 10 of the festival’s best movies, from Woman Unknown to Possible Love and Musk

Asian cinema

And the 2025 Oscar for best international film doesn’t go to … protesters or dissidents

Director Mohammad Rasoulof, whose film The Seed of the Sacred Fig wasn’t put forward for the Oscars by his country, Iran. Photo: AP

Sandra Hüller in a still from The Zone of Interest, a German-language British film about Auschwitz, and last year’s winner of the Academy Award for the best international film. Photo: A24

Mohammad Rasoulof, director of German best international film entry The Seed of the Sacred Fig, which he shot in Iran before fleeing into exile, says he feels ripped of his Iranian national identity. Photo: AP

Berlin 2025: 10 of the festival’s best films, from The Light to Dreams and Islands

Marion Cotillard in a still from The Ice Tower, screened at the Berlin International Film Festival. Photo: Handout

Lars Eidinger in a still from The Light, Tom Tykwer’s film that opened the 2025 Berlin International Film Festival. Photo: Handout

Producers Yngve Saether (left) and Hege Hauff Hvattum and director and screenwriter Dag Johan Haugerud (centre) with the Golden Bear for best film for Dreams (Sex Love) at the Berlin film festival. Photo: AFP

(From left) Dylan Torrell, Jack Farthing, Stacy Martin and Sam Riley in a still from Islands. Photo: Handout

Georges Khabbaz and Hanna Schygulla in a still from Yunan. Photo: Red Balloon Film, Productions Microclimat, Intramovies. Photo: Handout

Archie Madekwe (left) and Théodore Pellerin in a still from Lurker. Photo: Handout

Claude Lanzmann in a still from All I Had Was Nothingness. Photo: Handout

Margaret Qualley and Ethan Hawke in a still from Blue Moon. Photo: Sabrina Lantos/Sony Pictures Classics

Jessica Chastain in a still from Dreams. Photo: Teorema

Why architects are slamming The Brutalist, and more about the film nominated for 10 Oscars

Adrien Brody in a still from The Brutalist. The actor plays Laszlo Toth, an “amalgamation” of several famed real-life architects, most notably Marcel Breuer, according to the film’s director, Brady Corbet. Photo: TNS

When it opened in 1971, the Hong Kong Adventist Hospital – Stubbs Road was a good example of Brutalist architecture. Photo: Frost Photo Collection, Rebok Memorial Library, General Conference of Seventh-day Adventists

Saint John’s Abbey in Collegeville, in the US state of Minnesota, was designed by Marcel Breuer. Photo: AFP

The Guard House, by architect Ronald Poon, at the Shaw Studios residential blocks in Clear Water Bay, is one example of Hong Kong’s remaining Brutalist architecture. Photo: Courtesy of Ronald Poon

SAG Awards top prize goes to Vatican thriller Conclave, best actor for Timothée Chalamet

Conclave cast members (from left) Sergio Castellitto, John Lithgow, Isabella Rossellini, and Ralph Fiennes with the Screen Actors Guild awards for outstanding performance by a cast in a motion picture, the equivalent of best picture. Photo: EPA-EFE

Timothée Chalamet, winner of the award for outstanding performance by a male actor in a leading role for A Complete Unknown, with his mother, Nicole Flender, at the31st annual Screen Actors Guild Awards. Photo: Jordan Strauss/Invision/AP

Demi Moore poses with the Screen Actors Guild award for outstanding performance by a female actor in a leading role for The Substance at the Shrine Auditorium in Los Angeles. Photo: Jordan Strauss/Invision/AP

Zoe Saldana with the award for outstanding performance by a female actor in a supporting role in a motion picture for Emilia Perez. Photo: Jordan Strauss/Invision/AP

Jane Fonda on the red carpet at the Screen Actors Guild Awards. Photo: Reuters

Moeka Hoshi (left) and Anna Sawai (in red) from the cast of Shogun, which won the SAG television awards for best ensemble and best stunt ensemble. Sawai also won a best actress award. Photo: Jordan Strauss/Invision/AP

How the Erotic Ghost Story films shocked and seduced Hong Kong

(From left) Amy Yip, Man Siu and Kudo Hitomi in a still from Erotic Ghost Story.

Pal Sinn (left) and Amy Yip in a still from Erotic Ghost Story (1990). Yip made the first Erotic Ghost Story a success, mainly because of her buxom physique.

Joey Wong and Leslie Cheung in a still from A Chinese Ghost Story (1987). Photo: Film Workshop

A promotional image for Erotic Ghost Story (1990).

Charine Chan (bottom right) in a promotional image for Erotic Ghost Story 2 (1991).

A promotional image for Erotic Ghost Story 3 (1992).

(From left) Pauline Chan, Kenny Wong and Chik King-man in a still from Erotic Ghost Story 3 (1992).

Lifestyle

Entertainment

Culture

Film & TV

When entries for the best international film Oscar are selected by government bodies, politics often rears its ugly head


When entries for the best international film Oscar are selected by government bodies, politics often rears its ugly head.


European cinema

Asian cinema: Bollywood

Academy Awards

And the 2025 Oscar for best international film doesn’t go to … protesters or dissidents

.css-1c6uqr6{color:inherit;font-weight:inherit;font-size:inherit;font-family:inherit;line-height:inherit;overflow-wrap:break-word;}When entries for the best international film Oscar are selected by government bodies, politics often rears its ugly head

When entries for the best international film Oscar are selected by government bodies, politics often rears its ugly head