Best International Feature Film: Ranking Every Nominee of the 97th Academy Awards
Written by Andreas Babiolakis
This is the last category to rank before we get into all ten Best Picture nominees tomorrow; thus, this makes this the last week of The Academy Awards Project for this year before the Oscars take place on March 2nd. I always love saving Best International Feature Film for towards the end of the Academy Awards Project, because — to me, in many years — it is the truthful Best Picture category that almost always boasts nothing but slam dunks of films. This year is a little strange, because a handful of the greatest films of the year wound up being American-made, like Nickel Boys, The Brutalist, and Anora. Nonetheless, I still think the Best International Feature Film category contains quite a few strong films that are worth championing. Now, I will use this opportunity to preface my ranking, because it may seem a little antithetical based on how I have sung a particular film’s praises previously. I’ll let you get to the ranking and see for yourself. So, which of the five nominated countries released the best film amongst these nominees?
Here are your nominees for Best International Feature Film ranked from worst to best.
Biggest Snub: Universal Language-Canada
I feel like Canadian cinema is just so unorthodox and atypical that it often neglected in the conversation of international cinema. Universal Language, a strong satire that highlights all of Canadian film’s best quirks and ideas, felt like the dark horse that could have gone all the way and wound up as a final nominee. While that wasn’t the case, we still love the film nonetheless over here in the north. Maybe one day, Canada will wind up in this category again.
5. Emilia Pérez-France
I previously championed Emilia Pérez as one of my favourite films of 2024, and I am not backpedaling because I feel threatened by the massive discourse that now surrounds this motion picture. However, I do have a few of my own reasons to rethink a film that I once loved quite a bit. I’ve begun learning Spanish (not as a result of this film, mind you), and have noticed how much clunkier the film reads in its intended language (mind you, I am no where near fluent, but I can pick up on enough that feels like I wrote the film as a newbie). Additionally, I am more than capable of separating the artist from the art, and I never let the opinions of others persuade me and change my mind, but I am also beyond exhausted when it comes to this film and what toxicity has spawned from it. I do feel like a lot of the complaints people have regarding the film stem from not having proper media literacy (at no point does the film absolve Emilia Pérez of her awful crimes as a cartel lord just because she transitioned, and I am tired of that point being made when Emilia Pérez clearly depicts its central character as a flawed, awful person who is striving to be better and mainly failing; how society in the film perceives her doesn’t equate to how the film portrays her).
However, there have also been many strong points made about this film that cannot be ignored, either, like the stereotyping that could have previously been shrugged off as a misfire until promotional interviews had Jacques Audiard admitting that he doesn’t care about how he represents Mexican culture; a film’s mistakes are one thing, but a filmmaker’s intended negligence does make me feel less of it. Suddenly, a film that I once saw as being full of ambitious ideas and genre-bending (which I still believe) now also flaunts its flaws that I once was willing to turn a blind eye to (that notorious song happens very early on, and I was willing to accept it as a failed attempt at being satirical, but I just cannot ignore it now). What once felt like a team effort now feels like a film full of drastically different walks of life vying for the same message: the very message crafted by a director who seemingly doesn’t care about how it comes across (a respected filmmaker who, at this stage in his career, should know better or care more). It’s not unusual for any film lover, even a critic, to change their mind on a film, but to shift this quickly does feel suspicious, I’m sure.
With that said, consider Emilia Pérez a once-magical moment from my TIFF 2024 experience that now has shown its true nature that I cannot shake off. I still like the film seemingly more than most people do, but I clearly don’t like it enough to defend it to the ends of the Earth especially when so much about the film is evidently made with ill intention. If I don’t care to justify Emilia Pérez, did I ever like it as much as I once thought I did, or was my experience with it akin to a marvelous dessert which I can no longer stomach looking at because of its richness and adverse effects post eating (and my discovery of the baker not washing their hands while baking this cake)? I’ll keep my previous sentiments of Emilia Pérez online just because I don’t like pretending that I was never a fan of the film: that feels deceptive and dishonest. Instead, I may revisit the film down the road (when I see fit), but I don’t feel like I need to battle for a film whose director clearly doesn’t actually want to fight for those he features within the film, be they transgender identities or Mexican citizens. What once felt like an earnest but inaccurate opera of these societies now feels like a director exploiting people for a statement that — in Spanish — isn’t properly conveyed. Despite how much I liked the film upon my first and only watch back in September, I honestly don’t care enough to rewatch it after all of this nonsense, and so I think it’s safe to say that I have, perhaps, fallen out of love with it. One final note: in the category of Best International Feature Film, doesn’t it feel wrong to champion a film that doesn’t actually want to best represent the country it is featuring?
4. The Girl with the Needle-Denmark
I can comment on The Girl with the Needle in far fewer words than I just did for Emilia Pérez. This haunting, gothic, psychological drama is quite a treat to look at, as it digs itself into the mind of real-life serial killer Dagmar Overbye via this neo-surreal, exaggerated lens. While I do think the film carries its blemishes proudly (like being a little too long or slow at times that felt like they needed to be punchier), The Girl with the Needle is mainly a successful exercise in brooding resentment and anguish akin to something Béla Tarr would make if he ever sought out more conventional directing (take from that what you will). I do like when the Academy picks up on less traditional works or even arthouse films, and the Best International Feature Film category feels like a safe haven for films like The Girl with the Needle to thrive (another reason why I adore this category every year).
3. Flow-Latvia
In a way that feels antithetical to what I said about Emilia Pérez, I previously liked Flow a lot and commented on the handful of ways it could have improved (its pacing at times, for instance). However, I cannot stop thinking about this animated film for all the right reasons. If anything, Flow is a film I do want to revisit. It says a lot that an animated film with no dialogue was nominated in this category (it’s rare for films that aren’t live action to wind up in the Best International Feature Film category); Flow clearly speaks a universal language with its audience, and conveys its messages of comradery, climate change, and hope in a way that is applicable to all. This film truly is stunning, and I am happy to see that it is doing so well with audiences still. Just like the journey that the black cat at the centre of the film embarks on, Flow has been fun to watch and support as it defies many odds this award season. We have come this far. Could it go all the way?
2. I’m Still Here-Brazil
The hype is real: I’m Still Here is a fantastic film. While director Walter Salles is best known for his road films, what may wind up being his strongest feature to date is a story that remains stationary within the family and their house that is being threatened to be torn apart by politics, torture, and harassment. If this was just an acting vehicle for superstar Fernanda Torres, I’d argue that I’m Still Here would still be worth a watch. The film is so much more than that, though, as its hints of optimism amidst heaps of distress and devastation create a tapestry of perseverance: the highs and the lows of never giving up. Rooted in a major moment of Brazilian history, I’m Still Here is sensitive and honourable with its subject matter while never sugar coating the severity of its situation. It’s obvious how popular this title has been as of late. I don’t think that will change as I’m Still Here ages better and better with time (this sentiment stems from a hunch I have).
1. The Seed of the Sacred Fig-Germany
My favourite international film of 2024 was easily the slow-burning drama The Seed of the Sacred Fig: a tense and shocking look at the ongoing calamity of the world (specifically, in this film, in Iran). This film is patient with setting up its narrative payoffs with a blistering third act that remains one of the best cinematic moments of 2024. To me, The Seed of the Sacred Fig embodies everything that I want in a Best International Feature Film nominee. Firstly, it is a riveting film. Even during its slower, preliminary moments, I felt like I was on the edge of my seat. Secondly, it upholds the strength of the best Iranian film exports (I know this is a German submission, but we can even call it one of the stronger “German” films of late as well). Even though I am saddened by the fact that this film isn’t nominated anywhere else, I am happy that The Seed of the Sacred Fig wound up being selected in this category (one, as I may remind you, usually houses the best films of a year that may not get honoured in any other category). Regardless of whatever outcome may take place, please do yourself a favour and watch The Seed of the Sacred Fig: it is brilliant.
Who I Want To Win: I’m not too picky, but part of me is quietly rooting for The Seed of the Sacred Fig. As for films that actually stand a chance to win (this fact breaks my heart, because I wish The Seed of the Sacred Fig was more successful this award season), I’d pick I’m Still Here and Flow as works I am rooting for.
Who I Think Will Win: My rationale for what film will win this category for the past number of years has been to look at whatever film has been nominated for Best Picture as well. We find ourselves with two such nominees. While the previous favourite to win was Emilia Pérez (which still stands a chance, I’d say), I think that I’m Still Here is secretly the upcoming winner. Consider how many international awards Emilia Pérez won and when: well before the backlash for the film started in droves (this includes awards whose voting concluded before the height of the backlash took place), meaning that Emilia Pérez may seem like it has won many awards lately, but that’s not a proper indication of the industry or Academy’s current mindset. I just think that too many voters won’t want to be affiliated with Emilia Pérez when voting. Also take note that I’m Still Here is a Best Picture nominee with far fewer other nominations (two of three) than Emilia Pérez (which has twelve other nominations, thirteen total), meaning that — despite the fewer categories (you can say that Emilia Pérez had little bits of support from many categories) — I’m Still Here is being majorly celebrated in fewer categories. To me, that presence stems from Best International Feature Film, with a slight chance of Best Actress being responsible for this push as well (although that is a far more competitive category). Between I’m Still Here being released far later (and making late-season waves) and having far less controversy than Emilia Pérez, I think Walter Salles’ latest film is going to take home this prize, even if the writing isn’t presently on the wall.
The Academy Awards Project will continue tomorrow with the last category: Best Picture. We’re going to rank all ten nominees, and go into a number of snubbed films. You don’t want to miss it!
Andreas Babiolakis has a Masters degree in Film and Photography Preservation and Collections Management from Ryerson University, as well as a Bachelors degree in Cinema Studies from York University. His favourite times of year are the Criterion Collection flash sales and the annual Toronto International Film Festival.