Almost anyone I talked to after Laapataa Ladies was selected over All We Imagine As Light as India’s official Academy Awards entry was surprised. The irony: none were against the former. They just wanted both films to have made it to the Oscars as India’s official entry. That can’t be because the Oscars allow only one entry per nation. Fair, right? Nope! Consider this: India’s tiny Andheri suburb in Mumbai has more people than the world's bottom 50 least populated nations.
The Bollywood Bubble and Cinematic Constraints
India isn't just a country; it's a cinematic universe that defies imagination. With more cities where films are shot and more production houses than the entire population of the nation of Vatican City, India pumps out movies like a caffeine-powered content machine. Yet, when it comes to the Oscars? One measly entry. ONE!
Andheri – Mumbai’s filmmaking hub – not only has more people in it than the bottom 50 least populated nations but could produce enough films to keep the Academy Awards busy for a decade. And we aren’t even talking about India’s other filmmaking hubs, Kollywood and Tollywood, which often make more cinema than Bollywood.
The statistics are nothing short of remarkable. India produces approximately 2,000 films annually – almost one-fourth of the world’s yearly production. India makes films in nearly as many languages as the EU officially recognises in their territory. These films, which are in over 20 languages, represent a kaleidoscope of cultural experiences that most Western film industries can barely comprehend. From the colourful spectacles of Bollywood to the intense regional cinema of the Tamil, Malayalam and Bengali film industries, each region tells stories that are universes unto themselves.
Yet, the current system dictates that India gets the same Oscar entry quota as tiny European nations with populations smaller than most Indian apartment clusters.
The Global Cinema Conundrum
The Oscar's International Feature Film category was conceived as a celebration of global cinema - a corner where filmmakers from different corners of the world could show their storytelling magic. But somewhere along the line, it transformed into an exclusive club with frustratingly strict membership rules that seem more suited to an outdated colonial worldview than a modern, interconnected global film landscape.
Take the recent example of All We Imagine As Light -- a film that created significant buzz not just in Indian but global cinema circles. Despite its critical international recognition, it didn't make the cut for India's single Oscar entry. Every year, there are several such films that, despite being deserving, don’t make the cut. All We Imagine... thus became the latest symbol of a broader systemic limitation that continues to marginalise diverse cinematic voices.
China presents an equally compelling case of cinematic potential being constrained by stringent rules. With the world's second-largest film market by box office receipts fuelled by a massive movie-watching population, the country's cinematic output deserves far more international recognition than a single annual entry allows. The rich weave of Chinese cinema -- from historical epics to intimate art house films -- represents a storytelling tradition that spans thousands of years yet remains largely unseen on the global stage.
A Radical Reimagining of International Cinema Recognition
What if Oscar entries were proportional to a country's film production? Sounds wild? Maybe. But this could have a transformative effect on the cinemas of the world. Countries producing under 500 films annually could retain their single entry, but those hitting 1,000 films could be granted two entries. This could mean three or even four potential nominations for cinematic powerhouses like India and China.
Let me make myself clear. This isn’t a numbers game. It is about recognising the incredible diversity of global cinema. It is about acknowledging that storytelling transcends geographical boundaries and language barriers. That each good film is a window into a unique cultural experience, a narrative flight that can bridge understanding between different communities and perspectives.
Films aren’t mere entertainment. They are a powerful tool of communication that can break down barriers to create empathy across different societies. When we limit international representation, we're not just cutting off entries - we're effectively silencing unique voices and perspectives that could enrich our understanding of the world and bring it closer together.
Then there are the significant economic implications. International film recognition can have a transformative effect on local film industries, create opportunities for global collaborations, help fund different voices, and provide platforms for emerging filmmakers who might otherwise struggle. Take India’s only Oscar-nominated feature film: Lagaan. It changed filmmaking for a generation. That was a commercial film. But for an indie one, even a nomination in a global fest can mean the difference between a film being forgotten after becoming a local treasure or turning into a global phenomenon.
Breaking the Hollywood-Centric Model
The Oscars have historically celebrated unique voices, styles and perspectives. Directors like the recently deceased David Lynch have consistently earned nominations for films that challenge traditional narrative structures. If the Academy truly loves cinema that pushes boundaries, why not apply that same spirit of innovation to international entries?
This isn't about quota filling or tokenistic representation. It's about genuine recognition of the global nature of cinema. From the vibrant musicals of India to the philosophical depth of Chinese arthouse cinema, from the raw emotional landscapes of Iranian films to the social commentaries of Latin American filmmakers, world cinema offers a richness that far exceeds the current restrictive nomination process.
A Call for Cinematic Democracy
To the Academy: this is a playful yet passionate plea. Your International Feature Film category should be more than a tokenistic nod to global cinema. It should be a robust, dynamic celebration of storytelling in all its glorious, messy, beautiful complexity.
Imagine the films we're missing. The stories untold. The perspectives unexplored. All because of an arbitrary one-entry-per-country rule that seems more suited to a bygone era of cultural isolation than our interconnected, global world.
The Universal Language of Cinema
Cinema is universal. It transcends borders, languages, and cultural barriers. The Academy of Motion Picture Arts and Sciences has a unique opportunity to make the Oscars more than just a Hollywood celebration. They can make this one category a platform for true artistic recognition and a celebration of the incredible diversity of human storytelling.
So, here's to breaking the rules, championing diversity, and recognising that great storytelling knows no boundaries. India, China, and countless other countries are waiting - with cameras rolling and stories burning to be told.
Lights, camera, Academy action?
