India’s Oscar Committee Reveals Why It Didn’t Select ‘All We Imagine as Light’: “A European Film Taking Place in India”

As a seasoned film critic and someone who has followed the Indian film industry for many years, I find myself both intrigued and saddened by the recent controversy surrounding the Film Federation of India’s (FFI) choice for India’s official entry to the Oscars.

Criticism is being leveled against the Film Federation of India (FFI), a non-profit organization made up of film producers, distributors, and studio owners established in 1951, for selecting Kiran Rao’s Laapataa Ladies as India’s entry for the Oscars’ best international feature category.

As a film enthusiast, I was taken aback when Laapataa, not Payal Kapadia’s All We Imagine as Light, was selected to represent our country at Cannes this year. With 29 other films in contention and Kapadia’s movie making history as the first Indian title to compete at the festival in three decades, I had high hopes for its success. In fact, it even won the Grand Prix, the second-highest award at the festival. This victory is particularly significant because last year’s Grand Prix winner, Jonathan Glazer’s The Zone of Interest, went on to win the Oscar for best international feature film. So, I find myself questioning the decisions made by this year’s jury.

Following rumors that the jury perceived “All We Imagine as Light” as less authentically Indian than “Laapataa Ladies“, the president of FFI, Ravi Kottarakara, explained to The Hollywood Reporter India, “The jury stated that they were watching a European film set in India, not an Indian film set in India.

As per Kottarakara’s perspective, the Indian essence of “Laapataa Ladies” lies in its main narrative, which revolves around two brides who unintentionally exchange husbands during a train journey. This confusion arises because one husband mistakenly identifies the other woman as his wife due to both women wearing a ghoonghat, a traditional veil that hides their faces and modesty. Although some consider this custom outdated, it remains popular in various regions of North India.

Meanwhile, the story All We Imagine as Light unfolds about two nurses from Malayalam origins, who set out on a journey to the beach to alleviate the solitude and disconnection they feel while living and working amidst the chaos of contemporary Mumbai.

Ira Bhaskar, a film expert and former dean at Delhi’s Jawaharlal Nehru University’s School of Arts and Aesthetics, criticizes the Film Federation of India (FFI) for selecting “Laapataa” over “Light”. According to her, the choice was incorrect because “Laapata Ladies” emphasizes traditional Indian cultural customs, which she considers an outdated and stereotypical perspective. She refers to this viewpoint as “orientalism”, stating that it should not be encouraged. Bhaskar argues that labeling “All We Imagine as Light” as more European or visually European is a strange and inaccurate comment. Instead, she believes films should be evaluated based on their cinematic quality.

The controversy deepened as the FFI’s statement, announcing their selection of the Laapataa Ladies, contained the remark: “Indian women exhibit a peculiar blend of submissiveness and assertiveness.

Sneha Desai, the screenwriter for Laapataa Ladies, asked for a more expansive understanding of the FFI’s statement following criticisms of sexism on social media. In an interview with Press Trust of India (PTI), she stated, “I believe the reference may not accurately represent the entire association or jury’s views.” She also expressed a desire to give them the advantage of the doubt, acknowledging that they could have been more cautious in their wording, but preferring not to make sweeping conclusions based on this incident.

Regarding the statement, Kottarakara contends it was misunderstood. “The jury intended it to be favorable,” he explains. “We argue that women are comparable to the goddesses Lakshmi and Kali. Like Lakshmi, who is always bestowing blessings, they can also bring good fortune. However, they can also be like Kali, capable of causing harm whenever necessary.

However, Shrayana Bhattacharya, the author of “Desperately Seeking Shah Rukh: India’s Lonely Young Women and the Search for Intimacy and Independence,” disagrees with FFI’s oversimplified portrayal of Laapata Ladies. She argues to THR India that the Indian power elite, whether in media, policy, or culture, tend to view women’s issues and gender narratives as rigid binaries. This means a woman must be either an ideal victim or an ideal hero: a successful CEO or medalist, or a victim, embodying strong masculine dominance or pitiful submissive victimhood. The reality is more complex. It’s unfortunate that a film that beautifully explores the complexity of gender norms and social change in India is labeled using the very binary-oriented tropes it aims to transcend: submission versus dominance.

Others pointed out the FFI’s lack of diversity, as the all-male members on the selection committee might have influenced this controversial statement. Filmmaker and musician Joshua Sethuraman recently posted on X (previously Twitter): “It’s great to see so many women on the committee! That must be why their statement opposes the film itself.

Journalist and critic Namrata Joshi expressed strong criticism in a post on X, stating that the FFI’s [statement] for the Oscar pick was the most unusual interpretation of “Laapataa Ladies“. She found it incredibly condescending towards women, not just Indian women, but all women. The statement seemed to be written by someone grappling with an inflated sense of self-worth. Her question about a “strange mix of submission & dominance” indicated her displeasure and she labeled the statement as offensive.

As a gamer, I’d rephrase that statement like this: “When it comes to selecting India’s entry for the Oscars, there’s more than just the film’s quality at play. Baradwaj Rangan, a well-known critic, noted that having the necessary funds, desire, expertise, and contacts to run an expensive Oscar campaign is just as important. In his opinion, ‘Laapataa Ladies’ ticks all those boxes.

Despite smaller production companies like All We Imagine as Light not being as well-known as Aamir Khan Productions or Yash Raj Films International, they too have the resources and expertise to contend for an Oscars campaign. With Rana Daggubati’s Spirit Media handling the Indian distribution rights and deals already secured for release in significant foreign markets, All We Imagine as Light is poised to be one of the most far-reaching independent Indian films released this year (Janus Films and Sideshow are overseeing its distribution in the U.S.).

We collaborated on ‘All We Imagine as Light’ due to our admiration for the captivating tale and the exceptional talent that Payal, the cast, and the whole crew have displayed on-screen,” Daggubati shared with THR India. “Having garnered praise and affection worldwide, it would have been a great privilege for the film to represent India at the Oscars. We remain dedicated to sharing it with audiences nationwide, eagerly anticipating our journey ahead, both within India and internationally. This is a joyous moment for Laapataa Ladies. I wish Kiran and the entire team all the best on this thrilling venture ahead.

On various occasions, the selections made by the FFI have stirred up debates. For instance, in 2013, while Ritesh Batra’s acclaimed film, “The Lunchbox,” received international praise, the organization opted for Gyan Correa’s drama, “The Good Road.” Similarly, in 2022, instead of honoring S. S. Rajamouli’s global sensation, “RRR,” they chose Pan Nalin’s “Chhello Show (Last Film Show).

India has been entering films in the Academy Awards’ competition for the Best International Feature Film since 1957, and it has been nominated on three occasions: Mehboob Khan’s Mother India (1957), Mira Nair’s Salaam Bombay! (1988), and Ashutosh Gowariker’s Lagaan (2001). However, despite these nominations, India has yet to win the Oscar in this category.

As a movie enthusiast, I can’t help but get excited about the upcoming Oscar announcements! On December 17 of this year, the Academy of Motion Picture Arts and Sciences will reveal its shortlist for the 2025 Oscars in various categories such as best international feature. Fast forward to January 17, 2025, when we’ll find out the official nominations! And finally, mark your calendars for Sunday, March 2, 2025, as that’s when the 97th Academy Awards will take place. Can’t wait to see who takes home the golden statuette next year!

2024-09-28 01:55

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