With the 97th Academy Awards upon us, it’s time to highlight some of the best films of the last year. Who will win?
Let’s face it, the Best International Feature has always been a secondary category. By its very nature, it ‘others’ the films: these are the best non-American (or at least non-English language) films that the Academy didn’t see fit to include in the Best Picture category.
Which makes this year’s slate all the more interesting. One of the remarkable things in this year’s competition, Emilia Pérez and I’m Still Here are also the 10th and 11th non-English language films to be nominated for both Best Picture and Best International Feature Film in the same year. This is also the first time that two films have been nominated for both categories.
So, let’s take a closer look at those films, shall we?
Emilia Pérez (France)
Can something be bold, ambitious, and energetic while also frustrating, misguided, and chaotic? If so, then that’s my pullquote for Emilia Pérez, a musical that wants to be a straight drama—and somehow vice versa too. It’s held together by three excellent lead performances, although it’s ultimately stymied by two things: a style that feels obtrusive rather than complementary, and a reliance on tragic trans narratives that feels more reductive than progressive, missing opportunities for richer, more empowering representation.
Will it win? This was the presumptive frontrunner for the longest time. Due to various issues that have come to light (see: Best Picture column), it’s been slowly edging away from the best Picture category, but it still took home the BAFTA for Film Not in the English Language. With 13 nominations, expect to this name to be in the envelope at least once on the night.
Flow (Latvia)
At its best, animation achieves what live action never could, crafting boundless worlds with real emotions. Without a single line of dialogue, Flow exemplifies this power. Gints Zilbalodis and his team conjure an extraordinary universe from the first breathtaking frames. The blend of computer-generated animation, a watercolour aesthetic, stunning reflections of water and light, and deeply felt characters makes this utterly captivating. As the water rises, so does the tension, each peril and perfection revealed with jaw-dropping artistry around every corner. In a stellar year for animation, Flow stands as a formidable contender.
Will it win? This could be a dark horse (or dark cat, as the case may be). Also nominated for Best Animated Feature, it’s the second most nominated animated film behind The Wild Robot. Plus, it just won the Spirit Award in the same category a week before Oscars.
The Girl with the Needle (Denmark)
I knew going in that a black-and-white film set in post-WWI Copenhagen, centred on an infamous true crime case, wasn’t exactly going to be a laugh riot. Still, Magnus von Horn’s film is relentlessly bleak—gorgeously, monochromatically shot by Michał Dymek, but utterly unrelenting. It’s the kind of wallowing misery that makes you long for an end to social injustices—and maybe a piece of fruit and a good shower afterwards. That said, Vic Carmen Sonne and Trine Dyrholm deliver captivating performances.
Will it win? Probably one of the more surprising nominations, given the only other American award it was nominated for in the high season is Best Motion Picture – Non-English Language at the Golden Globes.
I’m Still Here (Brazil)
Set against the oppressive backdrop of Brazil’s military dictatorship, this true story centres on the Pavia family, with Fernanda Torres delivering a powerhouse performance as Eunice. The film’s straightforward approach is both a strength and a shortcoming—its restraint keeps the narrative taut, but key moments could have lingered longer for greater emotional impact, and the rushed final act lacks the clarity and intensity of the earlier sections. Still, Warren Ellis’ smouldering score heightens the tension, and Torres’ performance is awards-worthy, ensuring the film remains a compelling, if imperfect, watch.
Will it win? Also nominated for Best Picture, not to mention Best Actress for Torres (who won at the Golden Globe Awards), this is another one of the strong favourites for this category. Heavily awarded at the Venice International Film Festival, and sweeping many of the film critic circles, there’s a good chance for this one to take the prize.
The Seed of a Sacred Fig (Germany)
Some films don’t just tell a story; they completely envelop you, and Mohammad Rasoulof’s The Seed of the Sacred Fig is one of them. What begins as a quiet family drama against the backdrop of the Mahsa Amini protests becomes a gripping, unpredictable narrative, powerfully anchored by Soheila Golestani, Mahsa Rostami, and Setareh Maleki. Much like Deniz Gamze Ergüven’s Mustang, it portrays women defying deep-rooted conservatism—both through the Girls of Enghelab protests and in their rebellion against their father. Its impact is heightened by the sheer audacity of its creation, as Rasoulof, facing an eight-year prison sentence, fled Iran mid-production, smuggling his footage to Germany to complete the film in exile. The word “brave” is often overused in film discourse, but here, it finds its true meaning—both in the story on screen and the extraordinary determination it took to bring it to life.
Will it win? My personal favourite of the bunch. With about five awards from Cannes under its belt, it’s still a long shot. Closer to home, it also won the GIO Audience Award for Best International Feature at the Sydney Film Festival. That may not sway the voting at the Academy, of course, so this might be a case of a fan favourite that goes home empty-handed.
