Which International Films Will Rival ‘Emilia Pérez’ for the Oscar?

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The competition for the top international feature award appears to have a clear front-runner but also features a varied group of challengers who could potentially pull off an upset.

The standout contender seems to be “Emilia Pérez”. Jacques Audiard’s transgender Mexican cartel crime drama/musical, France’s submission for the Oscars, is gaining momentum in several categories such as Best Picture, Director, Actress (Karla Sofía Gascón), Supporting Actress (Zoe Saldaña and Selena Gomez), and numerous technical categories. With Netflix’s marketing muscle behind it, “Emilia” appears to be the closest title to being a certain nominee on the Oscar ballot.

Following that, I find it increasingly challenging to sift through the international competition, yet there are a select few films that have garnered enough critical acclaim and award recognition on the festival circuit to potentially challenge “Pérez.

Walter Salles’ ‘I’m Still Here’ and Mohammad Rasoulof’s ‘The Seed of the Sacred Fig,’ both deeply personal narratives exploring life under authoritarian rule, are strong contenders to make it into the top five.

The movie “I’m Still Here ” chronicles the life of Eunice Paiva, who was married to Brazilian Labour Party congressman Rubens Paiva and a mother to six children. Director Walter Salles is familiar with the Paiva family as he grew up alongside them. Tragically, Rubens Paiva vanished in 1971 during Brazil’s oppressive military dictatorship. In response, his wife transformed herself into a lawyer and activist, battling against the regime. Critics have praised “I’m Still Here ” as Salles’ finest work since his groundbreaking film “Central Station“, which earned Oscar nominations for Best International Feature and Best Actress (Fernanda Montenegro). It has been 23 years since a Brazilian film was nominated by the Academy, but interestingly enough, Fernanda Torres, Montenegro’s daughter, portrays Eunice Paiva in “I’m Still Here“.

As a gamer, I’d say: In Salles’ movie, it feels like we’re grappling with history’s ghostly sins. But Rasoulof’s “Sacred Fig” is a raw confrontation of the brutal realities shaping modern-day Iran today. The story revolves around a conservative judge who finds himself torn between upholding the ruling clerics and protecting his family, particularly his two teenage daughters, who unwittingly become embroiled in the Woman, Life, Freedom movement. Rasoulof secretly filmed this powerful piece in Iran itself, managing to flee the country just before its premiere at Cannes – an escape that came just as he was facing an eight-year prison sentence. This film earned a special jury award there.

In an unusual turn of events, due to its co-production with Berlin and Rasoulof’s refugee status there, Sacred Fig, directed by the Iranian dissident filmmaker Jafar Panahi’s protégé, becomes eligible for Oscar consideration as a German film – something that Iran would not choose. This presents Academy voters with an exceptional opportunity to recognize a film from a daring director who often challenges the norms. Given this unique chance, it is likely that many voters will eagerly seize the opportunity.

Political matters are central themes in two critically acclaimed international films: Mati Diop’s documentary film, “Dahomey,” which won Best Film at the Berlinale, and Magnus von Horn’s black-and-white period drama, “The Girl With the Needle.” In simpler terms, these two movies, Dahomey and The Girl With the Needle, both focus on political issues.

The film, standing in for Senegal at the Oscars, is titled Dahomey. It narrates the homecoming of 26 ancient African treasures, originally plundered by France from the Kingdom of Dahomey and returned to the Republic of Benin. Diop’s film seamlessly merges factual storytelling with poetic imagination, granting the artifacts their own voiceovers, suggesting they are not just inanimate objects but powerful cultural entities with a life of their own. By delicately blending fiction and reality, Diop’s work delves into the intricate impact of colonialism on contemporary African identity.

The Girl and the Sewing Needle, representing Denmark’s entry, is a story that unfolds in the early 1920s Copenhagen. It revolves around a fragile seamstress who finds herself in a predicament when her wealthy suitor, having impregnated her, refuses to marry her. With abortion being illegal at the time, she faces two daunting choices: a risky self-induced abortion using a bathtub and sewing needle, or carrying the child to term and surrendering it to a clandestine adoption agency. The themes of reproductive rights and female autonomy over their own bodies are particularly relevant in today’s context, as they are concerns that may resonate with many Academy members as they prepare for another potential Trump presidency, making this narrative distressingly contemporary.

Completing this season’s lineup of acclaimed international films are two distinct movies, united only by the daring vision of their directors. “Armand,” Norway’s Oscar entry, features Renate Reinsve from “The Worst Person in the World” as a troubled mother summoned to a school meeting, where she learns her son is accused of assaulting another boy. At first glance, this appears to be a typical social drama, but writer-director Halfdan Ullmann Tondel intentionally incorporates dramatic and dreamlike elements – such as choreographed dance routines – to imbue the story with an otherworldly quality.

In an unconventional yet sincere manner, Iceland’s submission, “Touch,” directed by Baltasar Kormákur, offers a heartfelt exploration of romance. This film revolves around a man on a 50-year journey to find his long-lost love. Notably known for action-packed films like “2 Guns” and “Contraband, ” and survival thrillers such as “Everest” and “Beast,” Kormákur opts for a more nuanced narrative, eschewing grandiose action sequences and intricate plot twists. Instead, he delves into a richly textured retelling of the timeless theme, It’s Never Too Late. The film’s profound emotional depth could prove irresistible to ardent romantics within the Academy.

Originally published as a solo issue in The Hollywood Reporter’s January edition, you can access this article by subscribing to the magazine right here.

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2025-01-10 20:54