On December 9th, AMPAS members began casting their votes for the shortlisted categories at this year’s Academy Awards, including Best International Feature Film. This year, 85 countries submitted films for consideration in what has already become a hotly contested race. Notable contenders include France’s “Emilia Pérez,” Germany’s “The Seed of the Sacred Fig,“ and Brazil’s “I’m Still Here,“ each of which has garnered enough popularity to be predicted for nomination in other categories as well. Similarly, though not as prominent in the Best International race, Latvia’s “Flow“ is a strong force in the Animated Feature race, while Senegal’s “Dahomey“ is a contender for Best Documentary Feature. It is looking to be another strong year for international film at the Oscars as the ceremony grows more and more reflective of the world beyond the United States.
Now, while these films are worthy of attention and accolades, they are far from the only ones. This year’s international longlist includes several strong entries, from regional box office record-setters to award-winning masterworks from the worldwide festival circuit. The race can only have room for so many films, of course, but nothing says we can’t try to make the spotlight just a little wider on our own accord. With that in mind, here are ten films that have gone under the radar of this year’s competition, some of which could, with a boost of awareness, even have a shot of surprising pundits with a spot in the final five. For any voters out there who have time to fit in an extra film or two before submitting their final ballot, this list is for you.
Drowning Dry / Sesės (Lithuania)
Fans of Academy favorite Ruben Östlund’s 2014 film “Force Majeure,“ which was Sweden’s entry into the Best International race, will find a kindred spirit in Lithuania’s entry, “Drowning Dry,“ which took home two awards at this year’s Locarno Film Festival. It, similarly, follows a family on vacation whose dysfunction bubbles to the surface after a sudden tragedy; in this case, two sisters, their husbands, and their children are left shaken after one of their children nearly drowns in a nearby lake. Writer-director Laurynas Bareiša’s observational direction and minimal long takes feel right in line with Östlund’s film, selectively and objectively framing the film’s proceedings to keep viewers impartial and at a distance. However, once the accident occurs, “Drowning Dry“ implements a non-linear back and forth in the film’s narrative that reveals new dimensions to the family’s history and dynamic and, subsequently, commands the viewer’s attention up until the final frame. Though funny in moments, Bareiša’s tragedy is blunt in its assessment of toxic masculinity and female disempowerment to stirring effect, making for one of the year’s most affecting dramas.
From Ground Zero / قصص غير محكية من غزة من المسافة صفر (Palestine)
A man sleeps in a hospital body bag for warmth. A woman bathes her child with water from the same bucket she uses to clean their clothes. A child cries in fear as her uncle struggles to rescue her father, who is covered in the rubble of what used to be their home. These are just some of the many stories featured in “From Ground Zero,“ an anthology film consisting of 22 shorts from filmmakers currently affected by the Israel-Hamas war in Palestine. Spearheaded by Rashid Masharawi, the collection of films ranges in form – encompassing narratives, documentaries, animation, and even puppetry – as well as style and tone. Some entries directly confront the violence experienced by those displaced by the war, while others showcase the daily lives of Palestinians beyond the casualty count. What the shorts lack in production value more than make up in their urgency and access, proving that political art can (and perhaps especially should) thrive even in a warzone. As the Palestinian-Norway co-production “No Other Land“ accumulates more and more recognition amongst critic groups, we should not forget “From Ground Zero,“ a work equally vital in platforming Palestinian voices.
The Glassworker / شیشہ گر (Pakistan)
Since 2021, at least one animated film has been submitted to the International Feature race, cementing a trend that helps further normalize animation to the point that it can represent countries on the world stage. This year, alongside Latvia and “Flow,“ Pakistan has submitted “The Glassworker,“ the country’s first-ever hand-drawn animated feature film. Taking influence from anime in its animation style, the film follows Vincent, a young glassworker studying as an apprentice under his father, Tomas, and Alliz, a young violin prodigy who has moved to Vincent’s town with her father, a beloved army Colonel. The two grow close despite their parents’ differing views. However, their relationship is tested when war breaks out. Falling somewhere between Hayao Miyazaki and Leo Tolstoy, “The Glassworker“ is a wildly ambitious first hand-drawn feature for Pakistan, charting a years-long coming-of-age saga that juggles light-hearted childhood romance with the perils of war and violence. Though it’s a bit rough around the edges, its climactic moments soar with the vitality of artists who are excited to be exploring what their culture can look and sound like in what is, for them, a new medium.
How To Make Millions Before Grandma Dies / หลานม่า (Thailand)
Though certainly a dark horse candidate, “How To Make Millions Before Grandma Dies“ has all the makings of a potential upsetter at this year’s festivities. It was a significant box office success in its home country of Thailand, becoming one of their highest-grossing films of all time, as well as in other southeast Asian countries like the Philippines and Singapore. Well, if you know, you know: Pat Boonnitipat’s deeply heartfelt family drama is one of the year’s most deceptively delightful tearjerkers, centered on the relationship between college dropout M, and his grandmother, Taew (Usha Seamkhum in a devastating and overlooked performance), who is unexpectedly diagnosed with Stage 4 stomach cancer. Initially, M begins cozying up to her in hopes he can become the primary heir to Taew’s inheritance, which the matriarch is quick to pick up on. However, the two form an unlikely bond that has each of them learning valuable life lessons about selflessness and mortality, culminating in a final act that ratchets up the emotional catharsis to 11 and leaves you a sopping mess.
Julie Keeps Quiet / Julie zwijgt (Belgium)
“Julie Keeps Quiet“ has been one of the quieter international players across the year’s festival circuit. It has been critically praised since its award-winning run at this past year’s Cannes Film Festival and subsequent screenings in Toronto, London, and Palm Springs. Given its timely subject matter, it is undoubtedly campaigning for a slot in the race and deserves a closer look. The story is set staunchly in the headspace of Julie, a young tennis prodigy whose coach is suspended and investigated after another one of his pupils commits suicide. Though all are encouraged to share their experiences in the investigation, Julie insists she has nothing to share and, instead, chooses to focus on her upcoming tournament, hoping things will blow over. As the pressure mounts, it becomes clear that Julie is suppressing deep-seated emotions that could have serious implications. Director Leonardo Van Djil composes one of the most assured directorial feature debuts of the year, capturing its title character in a patient, precisely framed long takes that keep her emotions front and center without ever being too explicit. Real-life tennis player Tessa Van den Broeck makes an equally astounding on-screen debut, showcasing remarkable restraint in conveying Julie’s empty-eyed surrender to her fear.
The Last Journey / Den sista resan (Sweden)
Sweden’s “The Last Journey“ is directed by and starring Filip Hammar and Fredrik Wikingsson, who are known in the country as the renowned comedy duo Filip and Frederik. As such, it became a box office triumph in the country – the highest-grossing Swedish documentary of all time – and has garnered strong word of mouth across other Norwegian countries. The film explores the relationship between Filip and his father, Lars, who has become a depressed recluse since retiring from teaching in 2008. With assistance from Frederik, Filip takes his father on a vacation to France, a country in which Lars has experienced some of his most treasured travel memories. As Lars gets back in touch with his vitality, Filip must come to terms with his father’s age and the change that comes with the passage of time. Reminiscent of Best Documentary contender “Will & Harper,“ the film is a briskly paced, feel-good celebrity road trip documentary anchored by a charming father-son dynamic as well as hilarious vignettes of Filip and Frederik attempting to stage recreations of Lars’ vacation memories, often to hilarious effect.
NAWI (Kenya)
Africa has always had a more limited presence at the Academy Awards than its neighboring continents. However, Kenya appears to be breaking through the noise to garner what could be its first-ever shortlisted entry in “NAWI.“ Subtitled “Dear Future Me,“ the film tells the story of a young girl who, right after earning the country’s highest marks on her regional final exams, is forced into an illegal child marriage. She runs away and attempts hitchhiking to Nairobi for school. Nevertheless, her escape leaves her mother and yet-to-be-born sister, whom she left behind, at risk. Its production value alone makes “NAWI“ a decisive breakthrough for Kenya, from solid on-location shooting to evocative lighting design. The film’s fiery lead performance from award-winner Michelle Lemuya Ikeny is also a highlight; Ikeny fully embodies a confident, inspirational female figure, even at a young age. However, the film’s effort to bring awareness toward the often overlooked issue of forced child marriage is certainly giving it an edge. Some may remember Switzerland’s short from 2021, “Ala Kachuu – Take and Run,“ which tackled Kyrgyzstan’s similar epidemic of bride kidnapping and wound up with a nomination for Best Live-Action Short Film. Perhaps “NAWI“ could seal a similar fate.
Saturn Return / Segundo premio (Spain)
Stateside readers may not be familiar with Los Planetas, Granada’s seminal indie rock band whose sound fits right in with other grungy groups like R.E.M. and The Smashing Pumpkins. They would help define Spain’s alt-rock indie movement of the late 90s, specifically with their third album, “Una Semana en el Motor de un Autobús,“ or “A Week In The Bus’ Engine.“ The story behind the album, as well as the band’s tumultuous history, is chronicled in “Saturn Return,“ which falls somewhere in between the soul of “Y tu mamá también,“ the dour realism of “Inside Llewyn Davis,“ the subversive spirit of “Rocketman,“ and the stylistic ambition of “Maestro.“ From the jump, the film strives to strip the story of Los Planetas’ cultural cache in service of a more unpolished look at friendship, ego, and drug abuse, all set to the band’s sonic wall of music and soaked in 90s neon. Its surrealist elements and contradicting perspectives consistently surprise you and keep the story completely unshackled from tropes, making for one of the year’s most singular cinematic outings and a breath of fresh air amidst Hollywood’s insistence on milking the musical biopic cash cow.
Semmelweis (Hungary)
When it was released in 2023, Hungarian drama “Semmelweis“ became one of the country’s highest-grossing films and remained in the box office Top 3 for nine weeks. The film’s success can be explained by its subject, Dr. Ignác Semmelweis, who is seen as a beloved figure in the country. He could go so far as to carry the film over to the Oscars shortlist. Directed by Oscar-nominated cinematographer Giuseppe Tornatore, “Semmelweis“ chronicles the dedicated but hot-headed obstetrician’s efforts in investigating an epidemic of postpartum death at his clinic. Alongside newly-hired midwife Emma Hoffmann, Semmelweis discovers a then-radical form of disinfectant that he believes will save lives despite administrative pushback. Acerbic in its writing and impassioned in its drama, “Semmelweis“ is a compelling medical mystery with enough period politics and handsome production design to appeal to fans of shows like “Downton Abbey“ and “The Gilded Age.“ Lead actor Miklós H. Vecsei is insatiable as Semmelweis, committing to the actor’s sense of instability to the point of breakdown. Alongside him is the striking Katica Nagy as Emma, whose charm and sensitivity make her eventual romance with Semmelweis the film’s beating heart.
Under The Volcano (Poland)
As the Russo-Ukraine War rages on, director and co-writer Damian Kocur’s “Under The Volcano“ takes a vastly unique approach to exploring the conflict’s fallout by setting his story far outside the warzone. This family drama takes place in Tenerife, one of the Canary Islands outside of mainland Spain, beginning with a family of four modestly enjoying the final days of their beach resort vacation. On the day they are set to leave, they learn of Russia’s invasion of Ukraine and are forced to remain in Tenerife while conflict explodes abroad. Tensions naturally tighten between the family members, specifically father Roman and stepmother Anastasiya, with daughter Sofia left to her own devices in both processing her own survivor’s guilt and loneliness and comforting her younger brother, Fedir. Similar in direction to “Drowning Dry“ and “Julie Keeps Quiet,“ Kocur keeps many of his subjective frames tight and claustrophobic, often allowing actress Sofiia Berezovska ample close-ups so we can internalize her grief. Perhaps most fascinating is Kocur’s subtle use of the film’s locale as a melting pot of global perspectives, most of which appear apathetic – or even unaware – toward the Ukrainian family’s situation, suggesting the world at large is as well.
Which international features would you like to see nominated for Best International Feature Film at the 97th Academy Awards? Please let us know in the comments below or on Next Best Picture’s X account, and be sure to check out Next Best Picture’s latest Oscar predictions here.
You can follow Larry and hear more of his thoughts on the Oscars & Film on his X account @_heylarry_
