Once again, the Film Federation of India (FFI) finds itself in the crossfire of national anger. The recent announcement of the 15 films shortlisted for the Best International Feature Film category at the 2025 Oscars caused outrage (once again) among cinephiles, critics and filmmakers in India when Kiran Rao’s missing ladies Failed to make the cut.
Following last night’s announcement, the FFI has been bombarded with sharp online criticism, including from luminaries like Hansal Mehta and Ricky Cage, who have accused the organization of consistently making poor decisions in Oscar selections. For most, this surprising omission is emblematic of a systemic malaise in how India positions itself on the global cinematic stage.
A charming satire about two bride-swapping in rural India during the 1990s, missing ladies It earned praise for its refreshing wit, but as Grammy winner Cage candidly pointed out, it was “absolutely the wrong choice” for an Oscar campaign.
Comparison of Payal Kapadia with Cannes-winner We imagine everything as light (AWIAL) – This film – seen by many as India’s natural contender for the international feature race – has only sharpened the sting. Kapadia’s ode to Mumbai’s working class has not only already garnered several accolades, but has also garnered nominations at such important precursors as the Golden Globes and Critics’ Choice Awards. Its Cannes triumph, where it won the Grand Prize, further cemented its position as a critical favorite early in the race.
On the contrary, missing ladies Many found it to be a charming but light-hearted entry in a category increasingly dominated by stories that were too serious. The comparison underscores a long-standing criticism of the Film Federation of India: its baffling preference for crowd-pleasing films over deeply cinematic, uncompromising works that might have had a chance of competing at the Academy Awards.
This is certainly not the first time India has messed up its Oscar bid. India’s troubled history with the Oscars seems like a sad tale of missed opportunities and institutional arrogance. For decades, the country’s official presentations have sparked more controversies than celebrations, often shrouded in allegations of political bias, short-sighted selection committees and an unbridled obsession with Bollywood glitz.
Despite the country’s vast cinematic output, only three films – Mother India (1957), Salaam Bombay! (1988), and rent (2001) – managed to secure a nomination in the International Feature Film category, with none receiving the coveted statuette. Meanwhile, Ritesh Batra’s work is also similar lunchbox or Chaitanya Tamhane DiscipleFamously ignored in favor of more populist fare, causing widespread backlash.
India has had some success in non-fiction categories in recent years: RRR‘S Natu Natu won the Best Original Song award last year, and elephant whisperers Received the Best Documentary Short Award. But the narrative feature award, often the most prestigious, remains notoriously elusive.
Critics often cite the lack of a strategic campaign and an insider’s view of selection as the root of the problem. It’s a pattern that speaks less about the quality of Indian cinema and more about an inward-looking establishment that has lost track of what the Academy actually values, or more accurately what Oscar voters value. Gives, is out of touch with it. want A more apt example of an aphorism is presented by Kapadia this year – from a foreign film Avial,
The disappointment is clearly heightened by the fact that other countries have leapt ahead.
Jacques Audiard’s Emilia PerezA dazzling French submission with a Mexican heart, it has emerged as the frontrunner in this category, receiving not only critical praise but also recognition on multiple Oscar shortlists.
‘Walter Sales is behind’ i’m still hereAn exploration of Brazil’s resilience, driven by a rare combination of box office dominance and critical enthusiasm.
latvian FlowAn animated odyssey that defies geographical and narrative conventions has captured imaginations as the country’s historic debut features in the shortlist.
from germany sacred fig seedA serious Iranian story told through Mohammad Rasoulof’s foreign lens, the series reflects the growing international recognition of the genre.
Irish kneesA ruthless and bitter underdog with British accolades in his arsenal, finds himself in a heated competition with Italy VermiglioA festival darling with an arthouse pedigree.
Meanwhile, Thailand made history How to make millions before grandma diesIt is the first film to advance since the country began submitting entries in 1984.
The history of the international feature category also provides insight. It remains one of the Oscars’ most Eurocentric awards, with France, Italy and Sweden dominating the awards table. However, recent reforms to Academy membership have opened the doors to a more diverse range of nominees. The 2025 shortlist reflects this gradual change: Senegal’s dahomey and Palestine from ground zero Join contenders from Norway, Iceland and Canada. Nevertheless, no matter how diverse the list may appear, its leaders – Emilia Perez, FlowAnd sacred fig seed – Still supported by countries with strong film industries and well-run Oscar machines.
India, despite its vast cinematic output, has lagged behind in navigating this terrain. Critics suggest that the FFI’s approach to the Oscars needs an overhaul. Still, there is a ray of hope. Sandhya Suri’s SatisfactionThe UK presentation featuring Indian actors Shahana Goswami and Sunita Rajwar made the shortlist.
Looking ahead, the 2025 International Feature race looks wide open, but Emilia Perez Still remains a hit film. If it wins the Oscar, it will break France’s 30-year drought in the category.
published – December 18, 2024 11:37 am IST
