Why International Features Earn More Oscar Nominations Across All Categories and Why That Matters

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A play that explores crimes, self-discovery, and identity; a powerful drama delving into political and familial repression; another centered around an activist seeking her lost spouse; films chronicling sexual assault from the victim’s perspective, addressing centuries of colonialism, and portraying Israel’s harsh treatment of Palestinian civilians in the West Bank; and a visually stunning, dialogue-free animated movie about animals joining forces to endure after a catastrophic flood.

The following movies – double Golden Globe winner “Emilia Pérez,” “Seed of the Sacced Fig,” “I’m Still Here,” “Black Box Diaries,” “Dahomey,” “No Other Land” and Golden Globe winner “Flow” – share two distinct characteristics: They were all produced outside the U.S., and they’re generating significant Oscar buzz that extends beyond the international feature film category.

Certain films and directors have consistently transcended conventional boundaries, with figures like Fellini, Truffaut, Bergman, and others from Italy, France, and Sweden receiving recognition for their directing and writing skills. Actresses such as Sophia Loren and Liv Ullman also received accolades. Notably, Fernanda Montenegro was the first Brazilian actress nominated for a lead role in 1998, for Walter Salles’ “Central Station”. While she has a small role in Salles’ “I’m Still Here”, her daughter, Fernanda Torres, is now being recognized for her leading role in that film.

At the dawn of the 21st century, I found myself captivated by a subtle shift in cinema landscape, marked by the release of “Crouching Tiger, Hidden Dragon” and the ascent of Pedro Almodóvar. His extraordinary works garnered recognition for their score, screenplay, and exceptional performances from stars like Penelope Cruz and Javier Bardem. However, it wasn’t until 2018 with “Roma”, a film nominated for nine awards outside the international feature category (winning director and cinematography Oscars), that I truly felt the dam burst open. The following year, “Parasite” graced our screens, earning nominations in five other categories, and triumphantly taking home the awards for best picture, director, and screenplay.

Since 2018, international films have been consistently recognized with nominations in cinematography (six times), makeup (four times) and visual effects (for the past two years, first-time entries). Across these categories, seven screenplays have been nominated. This doesn’t even account for the blurring lines in recent years, as American films like “Minari” and “Past Lives,” heavily subtitled, are becoming more common. Additionally, films such as “Roma,” “Parasite,” “Minari,” and “Past Lives” demonstrate a new wave of diversity, moving beyond the traditional focus on Western Europe. It’s also worth noting that international documentaries have been consistently nominated, with a significant increase in the last five years, garnering 14 nominations during this period.

A significant portion of this change is attributed to the Academy of Motion Picture Arts and Sciences expanding its membership base to include a younger and more diverse group, as well as their efforts to highlight that these movies can be considered for all categories. Previously, smaller films might only be accessible through film festivals in major urban areas, but now, voters have the convenience of watching them at home if necessary.

As a movie enthusiast, I found the success of ‘Parasite’ truly inspiring and it sparked a sense of democratization in the industry. Streaming platforms have been instrumental in altering perceptions, as they’ve shown that there’s an audience eager to watch foreign-language films, even those with subtitles, like ‘Squid Games.’ It’s always more enriching when a field becomes more multifaceted and inclusive.


Latvian Gints Zilbalodis, director of “Flow,” says filmmaking is “less centralized now.”

Technological progress facilitated the production of films in regions lacking significant film industries, as he pointed out. Remarkably, his team essentially established their own film industry specifically for the creation of this movie.

Creating something from the ground up allows for a break from traditional methods and encourages the creation of unique narratives – it’s not just about the kinds of stories but also the innovative ways they’re presented,” he explains, implying that today’s audiences and voters are open to these diverse perspectives and modern interpretations.

Mati Diop, director of “Dahomey,” comments that there’s an increasing number of voices emerging from diverse regions globally. Many filmmakers, like herself, are part of both Western and non-Western cultures. They possess the narrative skills and technological resources of the Western world while utilizing cinematic tools to share stories from a post-colonial perspective, illuminating communities that previously had limited opportunities for self-expression.

It’s true that not all communities have the ease of self-expression, as shown by the cases of Palestinian Basel Adra and Iranian director Mohammad Rasoulof. Adra was physically assaulted by Israelis while working on “No Other Land,” and Rasoulof had to escape Iran to avoid imprisonment for his anti-government films (the movie even includes authentic footage of authorities brutally treating citizens). Since the film is primarily funded by Germany, its German producers used their influence to persuade their own country to screen the film.

Rasoulof desires adjustments to the system for a fairer Oscar consideration of films similar to his. “I understand it’s challenging to create a new system that fairly evaluates all films from every nation,” he notes. “However, it’s crucial because numerous filmmakers from various countries are overlooked in this process, and I believe we should not let the restrictive mechanisms hinder artistic expression.

Submissions play a crucial role for reasons beyond simply receiving acknowledgment. They help draw attention to lesser-known films that might otherwise be overshadowed by the endless stream of content available.

Zilbalodis points out that nominations provide a chance for films produced independently to gain visibility since it’s challenging to rival the large studios and their extensive marketing efforts. Furthermore, he mentions that receiving a nomination could assist an indie filmmaker in launching their next project.

Diop states that nominations help illuminate the movie further and draw more people into discussing it. The aim, he explains, is consistently about increasing visibility and fostering greater understanding.

Adra comments on “No Other Land”: “Receiving a nomination or winning an Oscar will ensure our tale becomes widely recognized.” They, along with co-director Yuval Abraham, mention that its anti-Israeli themes have made it hard to secure U.S. distribution, but Oscar recognition could potentially change that situation. (Abraham, in particular, wants American viewers to watch the film because “the bulldozers demolishing Basel’s community are manufactured in the U.S., and the soldiers protecting them are armed with weapons funded by the U.S. Therefore, our documentary might not be produced in the U.S., but it does address U.S. foreign policy to a certain extent.”)

Initially, I took up filming merely to preserve proof of the injustices we’ve faced. As I put it, “the camera might be our only tool apart from our unwavering resolve.” To my astonishment, the film has already exceeded all my expectations and garnered significant success. If fortune smiles upon us and we receive an Oscar, the triumph would grow even more substantial, but should that not come to pass, I remain undisturbed.

Abraham notes that if they are selected, they’ll feel like they’re “on cloud nine for a moment,” but then they’ll quickly return to their daily battles and the real world. We don’t believe that this will transform everything overnight. We’ll keep doing our grassroots work diligently.

Rasoulof points out that nominations carry symbolic significance as well. “These recognitions would not only broaden the films’ reach to a larger audience but also send a powerful message to countless filmmakers worldwide who are working under similar conditions and challenges: ‘We acknowledge your existence now.’

Amidst tightening border controls and surging prejudice against foreigners, particularly in the U.S. following an election focused on these topics, the filmmakers view nominations for international movies as a beacon of optimism.

Zilbalodis remarks that culture can bring us together. By immersing ourselves in these narratives, we can recognize our own likenesses and perhaps find more commonalities with these diverse individuals than differences.

Salles concurs, expressing that his choice to become a filmmaker stemmed from cinema’s role as a means of exploring unknown territories, enabling him to comprehend that the world extended far beyond what he had initially believed possible.

Films, much like novels and songs, he contends, serve as “powerful tools for exploring the complexities of human behavior.” Ultimately, he suggests, this insight is essential for navigating the political quagmires we find ourselves in.

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2025-01-23 05:46