Why India’s Oscar submissions need a makeover

THE 97th Academy Awards, popularly known as the Oscars, will dazzle the audiences on March 2 in Los Angeles, celebrating the finest achievements in global cinema. While anticipation runs high for the winners, the journey to the coveted golden statuette has already seen its share of surprises and heartbreaks. Amidst it all, one enduring question remains: What kind of stories does Indian cinema choose to tell on this stage and why?

India's journey in the 'Best International Feature Film' category at the Oscars has been a complex tapestry of artistic ambition, cultural representation and pursuit of global recognition, often sparking debates about the selection process and narratives chosen to represent its diverse cinema.

While the country boasts a rich and varied film industry, its official submissions frequently reflect a preference for stories that align with the western perception of India. They focus on poverty, caste struggles and socio-political unrest rather than the full breadth of India's cinematic storytelling, including its cultural heritage, achievements and progress.

This pattern raises an important question: are we truly showcasing the best of Indian cinema or are we curating narratives that cater to a western gaze? A closer look at past selections suggests that India's choices on the global stage may not always reflect the full spectrum of its cinematic excellence, fuelling discussions about what truly defines Indian storytelling and how India chooses to represent itself internationally.

The global reception of Indian films is often shaped by western perceptions. Slumdog Millionaire (2008), not an Indian film, but the United Kingdom's official submission, won multiple Oscars for its portrayal of Mumbai's slums. Similarly, Lion (2016), an Australian production about an Indian child's struggles, gained worldwide acclaim.

This year, All We Imagine as Light (2024), which won the Grand Prix at Cannes, was overlooked as India's official submission, reportedly for being 'too European.' Instead, Laapataa Ladies (2024) was chosen, sparking debates about the criteria used by the Film Federation of India (FFI). Likewise, Santosh (2024), again UK's official entry for the 2025 Oscars, directed by British filmmaker Sandhya Suri, reinforces stereotypes about caste oppression and systemic injustice in India. Though the film is in Hindi and rooted in rural north Indian settings, it represented the UK at the Oscars!

This raises another important question: why do so many foreign productions choose to tell stories about India's struggles, injustices and poverty?

India's own submission for the same category, Laapataa Ladies (2024), also follows a similar path, highlighting the challenges faced by rural women. Though distinct in storytelling, both Santosh and Laapataa Ladies cater to an audience eager to see a certain version of India — one of hardships, inequality and deeply ingrained social issues. This fuels the perception of India as a country still trapped in poverty and injustice rather than a rapidly evolving, diverse and modern nation.

Similarly, Anuja (2024), produced by Guneet Monga and Priyanka Chopra, was selected as India's official entry for the 2025 Academy Awards and secured a nomination in the Best Live Action Short Film category. A poignant tale, but again on the same lines — it follows the journey of a poor nine-year-old girl, portraying struggles and triumphs of working children, while addressing such critical issues as child labour and girls' education.

India's Oscar journey began in 1957 when Mother India became its first official submission. The film, depicting a woman's resilience against poverty and societal oppression, resonated globally and secured a nomination. This set a precedent — Indian films recognised at the Oscars often portray struggle and hardship.

Continuing this trajectory, films like Salaam Bombay! (1988) and Lagaan (2001) focussed on themes of street life and drug addiction and colonial oppression, respectively. Notably, these remain the only three Indian films to have secured nominations in the Best International Feature Film category.

Bandit Queen (1994), which explored caste violence and oppression, was the official Oscar entry, while Hum Aapke Hain Koun..! (1994), a cultural phenomenon celebrating Indian weddings and traditions, was overlooked. Similarly, Earth (1998) and Hey Ram (2000) delved into communal conflicts while Newton (2017) highlighted electoral challenges in a politically volatile region. The selection of Newton over more popular contenders like Dangal or Baahubali 2 raised the question if commercial viability and mass appeal should be factored in decision-making.

Though thought-provoking, these selections reinforced the narrative of India's struggles rather than its achievements. Consider The Lunchbox (2013) and Court (2014), both internationally acclaimed, but ignored for Oscar submission. Sardar Udham (2021), a powerful historical drama, was sidelined, as was Kantara (2022), rooted in indigenous traditions. Even Rocketry: The Nambi Effect (2022), celebrating ISRO scientist Nambi Narayanan's contributions, failed to make the cut. Meanwhile, The White Tiger (2021), a critique of class struggles, found favour globally.

So, are these choices a reflection of the reality or are they curated to fit western expectations? While acknowledging social issues is crucial, should India not also showcase its progress, scientific excellence and cultural richness? Perhaps, it's time for India's selections to reflect the full spectrum of its storytelling.

The Oscars' Best International Feature Film category has often been criticised for favouring narratives that align with western perspectives. Yet, countries like South Korea and Mexico have successfully reshaped their global cinematic image through strategic Oscar campaigns. Parasite (2019) blended dark humour with social critique while Drive My Car (2021) explored human relationships beyond national struggles. Winners like Perfect Days (2023) from Japan and Emilia Pérez (2024) from France highlight diverse storytelling that transcends stereotypes.

By broadening its Oscar submissions, Indian cinema can break free from self-imposed constraints and present a more balanced, authentic image to the world. Indian cinema does not need western validation to be meaningful, but it must review its selection process, prioritising films that showcase the depth and diversity of our storytelling even if they challenge traditional narratives. It is time to reclaim our narrative and celebrate the diversity of our cinematic heritage.