The annual Savannah Film Festival from the Savannah College of Art and Design (SCAD) has released its lineup, bringing some of the buzziest titles from this year’s Oscars race to the university-run event.

More than 225 Academy Award nominees have been screened at the festival throughout its 27-year history — and several prospective awards players hope to join the ranks.

The 28th annual Savannah Film Festival’s lineup currently includes “Frankenstein,” “Hamnet,” “It Was Just an Accident,” “Jay Kelly,” “No Other Choice,” “Sentimental Value,” “The Testament of Ann Lee” and many more Oscar hopefuls.

“Sinners” and “One Battle After Another” will also be shown at the festival amid their growing awards season buzz, despite already being released wide this year.

167 films will screen at the SCAD Savannah Film Festival in total. This is comprised of 56 narrative features, 16 documentary features and 96 short films across various sections and categories. The festival will additionally recognize a number of celebrities and host several filmmaker panels.

“Every October, SCAD transforms Savannah into a master class in moviemaking, with our 2025 SCAD Savannah Film Festival lineup featuring J.Lo, Mark Hamill (the original Skywalker!), ‘Wicked’s Jon M. Chu, and so many more who help SCAD Bees make the leap from classroom to call sheet,” said SCAD President and Founder Paula Wallace in a statement. “Come for the Oscar-bound premieres and stay for the splendor of the South’s most cinematic city. Silver-screen dreams live here — lights, camera, SCAD!”

On top of the numerous new releases that will play at the Savannah Film Festival, screenings will also be dedicated to a handful of older films. The festival will screen “Breathless,” Jean-Luc Godard’s highly influential piece of French New Wave cinema that served as the inspiration for Richard Linklater’s new film “Nouvelle Vague.”

Additionally, Steven Spielberg’s family classic “E.T. the Extra-Terrestrial” will play at the SCAD event, with production designer Jim Bissell speaking on a panel with fellow craftspeople.

You can check out the full schedule for the 28th Savannah Film Festival below.

Feature Screenings

Gala Screenings
“Bugonia,” Yorgos Lanthimos
“Christy,” David Michôd
“The Chronology of Water,” Kristen Stewart
“Eternity,” David Freyne
“Frankenstein,” Guillermo del Toro
“Hamnet,” Chloé Zhao
“Is This Thing On?” Bradley Cooper
“Jay Kelly,” Noah Baumbach
“No Other Choice,” Park Chan-wook
“Nouvelle Vague,” Richard Linklater
“Nuremberg,” James Vanderbilt
“Rebuilding,” Max Walker-Silverman
“Rental Family,” HIKARI
“Sentimental Value,” Joachim Trier
“Song Sung Blue,” Craig Brewer
“The Testament of Ann Lee,” Mona Fastvold
“Train Dreams,” Clint Bentley
“Wake Up Dead Man: A Knives Out Mystery,” Rian Johnson

Special Presentations
“A Private Life,” Rebecca Zlotowski
“Belén,” Dolores Fonzi
“Breathless,” Jean-Luc Godard
“It Was Just an Accident,” Jafar Panahi
“Left-Handed Girl,” Shih-Ching Tsou
“Merrily We Roll Along,” Maria Friedman
“Peter Hujar’s Day,” Ira Sachs
“Sirât,” Oliver Laxe
“The Love That Remains,” Hlynur Palmason
“The President’s Cake,” Hasan Hadi
“The Secret Agent,” Kleber Mendonça Filho
“Urchin,” Harris Dickinson

Signature Screenings
“Blue Moon,” Richard Linklater
“Big Rock Burning,” David Goldblum
“Don Bluth: Somewhere Out There,” Dave LaMattina, Chad Walker
“E.T. the Extra-Terrestrial,” Steven Spielberg
“Hedda,” Nia DaCosta
“Highest 2 Lowest,” Spike Lee
“Him,” Justin Tipping
“If I Had Legs I’d Kick You,” Mary Bronstein
“Kiss of the Spider Woman,” Bill Condon
“The Life of Chuck,” Mike Flanagan
“One Battle After Another,” Paul Thomas Anderson
“Preparation for the Next Life,” Bing Liu
“SCAD Presents: André Leon Talley — Style is Forever,” Zach Stafford, Clay Haskell
“Sinners,” Ryan Coogler
“The Smashing Machine,” Benny Safdie
“Splitsville,” Michael Angelo Covino
“Twinless,” James Sweeney

Docs to Watch
“2000 Meters to Andriivka,” Mstyslav Chernov
“The Alabama Solution,” Andrew Jarecki, Charlotte Kaufman
“Apocalypse in the Tropics,” Petra Costa
“Come See Me in the Good Light,” Ryan White
“It’s Never Over, Jeff Buckley,” Amy Berg
“My Mom Jayne,” Mariska Hargitay
“The Perfect Neighbor,” Geeta Gandbhir
“Riefenstahl,” Andres Veiel
“The Tale of Silyan,” Tamara Kotevska

Pixels and Pencils: Top Animated Contenders
“Arco,” Ugo Bienvenu
“Elio,” Madeline Sharafian, Domee Shi
“In Your Dreams,” Alex Woo
“KPop Demon Hunters,” Chris Appelhans, Maggie Kang
“Little Amélie or The Character of Rain,” Maïlys Vallade
“Teenage Mutant Ninja Turtles: Chrome Alone 2 — Lost in New Jersey,” Kent Seki

Panels

In Conversation
“Wicked: For Good” with Jon M. Chu

Behind Their Lens, presented in partnership with IndieWire
Behind Their Lens: Directors, with Mary Bronstein (“If I Had Legs I’d Kick You”), HIKARI (“Rental Family”), Leslye Headland (“The Acolyte”), Eva Victor (“Sorry, Baby”)
Behind Their Lens: Producers, with Debra Hayward (“Good Grief”), Riva Marker (“Reality”), Alison Owen (“Back to Black”)
Behind Their Lens: Artisans, with Kira Kelly (cinematographer, “Him”), Pam Martin (editor, “Springsteen: Deliver Me from Nowhere”), Taylor Joy Mason (editor, “Him”), Shunika Terry (hair designer, “Sinners”)

Below the Line
Below the Line: The Power of Casting, with Kate Rhodes James (“Gladiator 2”), Bernard Telsey (“Wicked: For Good”)
Below the Line: The Art of Production Design, with Juliana Baretto (“Rebuilding”), Jim Bissell (“E.T. the Extra-Terrestrial”), Alexandra Schaller (“Train Dreams”)
Below the Line: Scoring for the Screen with the Alliance for Women Film Composers

Other panels
The SCAD Alumni Voices panel
Entertainment Weekly’s Breaking Big Panel and Awards
Variety’s 10 Artisans to Watch
The Art of Representation: Gersh Agents on Building Careers in Entertainment
The ABC’s of Entertainment Law
Writing Bond: Crafting the Legend of 007

Competition Films

Narrative Features
“Rains Over Babel,” Gala del Sol
“Rosemead,” Eric Lin
“She Dances,” Rick Gomez
“Charliebird,” Libby Ewing

Documentary Features
“Room to Move,” Alexander Hammer
“The Librarians,” Kim A. Snyder
“Natchez,” Suzannah Herbert
“Yanuni,” Richard Ladkani

Professional Shorts
“The Last Dance,” Hayden Mclean
“All the Empty Rooms,” Joshua Seftel
“Rise,” Jessica J. Rowlands
“The Singers,” Sam Davis
“Freeman Vines,” André Robert Lee, Tim Kirkman
“Beyond Silence,” Marnie Blok
“Synthesize Me,” Bear Damen
“OK/NOTOK,” Pardeep Sahota

Animated Shorts
“Snow Bear,” Aaron Blaise
“Saq Nikté and the Spirit of the Mask,” Ester Weiner
“Murmuration,” Janneke Swinkels, Tim Frijsinger
“Hullabaloo: The Curse of the Cheshire Cat,” James Lopez
“ReRooted,” Delphine Coudray
“Forevergreen,” Nathan Engelhardt, Jeremy Spears
“Éiru,” Giovanna Ferrari
“anyone lived in a pretty how town,” Daniel Kreizberg
“Cardboard,” Jean-Philippe Vine
“Wednesdays with Gramps,” Chris Copeland, Justin Copeland

Student Shorts

Student Animated Shorts
“How to make a friend,” Jinfei Ge, Bin He, Myrtille Huet, Julie Jarrier-Stettin, Yuqiang Zhang
“ÜMIT,” Amina Ömirjan
“The Story of Three Sisters (or How the World Came to Have Four Seasons Instead of One),” Raphaëlle Bourgon, Anchi Huang, Vega Lázaro, Son Tra Le, Priyam Parikh, Jianuo Wen, Di Wu
“Snubbed,” Jesse Braak, Kian Sherritt
“Catfish,” Aurélie Galibois, Aurélie Martin, Camille Naud, Cristina Ganusciac, Hee
Young Park, Vedushi Sinha
“The Day We Flew,” Ryan Wang
“Jour de vent (Windy Day),” Martin Chailloux, Al Kim Crespin, Elise Golfnse, Chloe Lab, Hugo Taillez, Camille Truding
“Wormwood,” Matthieu Dupille, Binlin Xie, Alexander Vanderplank, Ninon Quemener, Philémon Martin, Chenhe Liu
“Bugsick,” Venya Aggarwal
“Acrobats,” Eloïse Alluyn, Hugo Danet, Anna Despinoy, Antonin Guerci, Alexandre Marzin, Shali Reddy
“Lost Track,” Sam “Luna” McKee
“The Shyness of Trees,” Bingqing Shu, Maud Le Bras, Jiaxin Huang, Simin He, Lina Han, Loïck Du Plessis D’Argentré, Sofiia Chuikovska
“Dragfox,” Lisa Ott
“Forever,” Theo Djekon, Pierre Ferrari, Cyrine Jouini, Pauline Philippart, Anissa Ferrier

Student Narrative Shorts
“Take Two,” Colleen Ryan
“Wrestle-Off,” Sabatino Ciatti Jr.
“Breastmilk,” Ifeyinwa Arinze
“If Birds Believed in God,” Samer Saifan
“You & Me (& Chaz & Rodney),” Lilly Lion

SCAD Student Documentary Shorts
“The Path of Puma-36,” Amelie Bluestone
“Real Fake War,” Tommy Dilger
“Get Your Gravel On: Gravel Racing in the Borderlands,” Pablo Echevarría
“The Last Lobsterman,” Jason Conforti
“Drag Me To Church,” Isabella Sullivan
“Cornellskop: Freedom from Fear,” Nathan Oliva
“Terpsichore,” Abigail Cunningham

Global Shorts Forum

For the Love of Sport
“We’ll Go Down in History,” Cameron Richards, Charlie Tidmas
“Forward is a Pace,” Robin Oroso
“Icebreakers,” Marlo Poras, Jocelyn Glatzer
“It’s Our Ball,” David Morrison
“Into the Chutes,” Jenna Rice
“Hoops, Hopes & Dreams,” Glenn Kaino

Portraits of Perseverance
“The Green Buffalo,” Joel Caldwell
“Ibuka, Justice,” Justice Rutikara
“The Return,” Jeremy S. Levine
“Inside, The Valley Sings,” Nathan Fagan
“Oh Whale,” Winslow Crane-Murdoch

A Place in This World
“A Color I Named Blue,” Sybilla Patrizia
“Art with Every Breath,” Caroline Josey Karoki
“Call to Serve,” Cole Sax, Phil Hessler
“PREVIEW,” Quinlan Orear
“Largo,” Salvatore Scarpa
“Susana,” Gerardo Coello Escalante, Amandine Thomas
“No Way Back,” Tom Turner
“Shanti Rides Shotgun,” Charles Frank
“Retirement Plan,” John Kelly

Shorts Spotlight

Dearest Daughter
“Curly Joe, Two Kittens, Four Boxes & Scent of Fire,” Apo W. Bazidi, Anna Benner
“Hatchlings,” Jahmil Eady
“Miriam,” Josie Andrews
“Koko Suzanne,” Zach Bandler
“Of All The Things,” Steff Lee
“KÜĪ,” Kahu Kaiha
“Who Are You, Nanu?” Anjini Taneja Azhar
“On a Sunday at Eleven,” Alicia K. Harris

Reality Askew in Black & White
“Two People Exchanging Saliva,” Alexandre Singh, Natalie Musteata
“Collectors,” Susan C. O’Brien
“Cineál Fiáin (WildKind),” John McDaid
“Em & Selma Go Griffin Hunting,” Alexander Thompson
“Without Heaven (Cennetsiz),” Merve Bozcu
“Hurikán,” Jan Saska

Sweetness in the Bitter
“Dressed to the Nines,” Madeleine Shenai, Ivana Mazza-Coates
“Old Dykes,” Ezra Rose
“Witness,” Radha Mehta, Saif Jaan
“Everywhere I Look,” November Nolan
“The Second Time Around,” Jack Howard
“One Day This Kid,” Alexander Farah
“Automagic,” Ashok Vish

After Dark — The Horror Within
“Wait, Your Car?” Reece Feldman
“The Rebirth,” Connie Shi
“Playing God,” Matteo Burani
“The Lone Piper,” Matthew Kravchuk
“Chew,” Félix Dobaire
“Luz Diabla,” Gervasio Canda, Paula Boffo, Patricio Plaza
“The Pearl Comb,” Ali Cook

Awards Honorees

Will Arnett, Luminary Award.
Hannah Beachler, Variety Creative Impact in Production Design Award
Craig Brewer, Spotlight Director Award
Rose Byrne, Luminary Award
Miles Caton, Rising Star Award
Jon M. Chu, Vanguard Director Award
Zoey Deutch, Breakthrough Performance Award
Joel Edgerton, Vanguard Award
Mark Hamill, Lifetime Achievement Award
Oscar Isaac, Icon Award
Rian Johnson, Outstanding Achievement in Directing Award
Jennifer Lopez, Virtuoso Award
Dylan O’Brien, Lumiere Award
Benny Safdie, Maverick Director Award
Miles Teller, Distinguished Performance Award
Tessa Thompson, Distinguished Performance Award

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The awards show, which is presented by the Hollywood Foreign Press Association, dropped the list of eligible podcasts on Thursday evening. Among the titles listed were “Call Her Daddy,” “Armchair Expert with Dax Shepard,” “Pod Save America” and “The Megyn Kelly Show,” as well as 21 other popular podcasts.

Per the announcement, eligibility was determined by Luminate, which the Golden Globes described as “the entertainment industry’s leading authority on audio analytics and insights.”

The addition of the Best Podcast category was announced back in May, as a way to recognize the growing medium’s popularity. Out of the 25 eligible podcasts selected, only six will be named as nominees for the 2026 show.

You’ll find the full list of selected titles below:

20/20 (from ABC News)
48 Hours (from CBS News)
Armchair Expert with Dax Shepard
Call Her Daddy
Candace
Crime Junkie
Dateline NBC
Good Hang with Amy Poehler
Morbid
MrBallen Podcast: Strange, Dark & Mysterious Stories
Pardon My Take
Pod Save America
Rotten Mango
Shawn Ryan Show
SmartLess
Stuff You Should Know
The Ben Shapiro Show
The Bill Simmons Podcast
The Daily (from The New York Times)
The Joe Rogan Experience
The Megyn Kelly Show
The Mel Robbins Podcast
The Tucker Carlson Show
This Past Weekend w/ Theo Von
Up First from NPR

The 83rd Annual Golden Globes — which will once again be hosted by comedian Nikki Glaser — will air on January 11, 2026 on CBS.

The post Golden Globe Awards Reveal the 25 Podcasts Eligible for Inaugural Award appeared first on TheWrap.

Panahi’s visa troubles came a day after the U.S. government shut down when Congress failed to pass a federal budget for the 2026 fiscal year. New York Film Festival told ticket holders Thursday that Panahi would not be in attendance for the New York premiere or conversation.

Panahi made headlines with “It Was Just an Accident” soon after its premiere at Cannes Film Festival, winning both the Palme d’Or and the Prix de la Citoyenneté Citizenship Prize. The film quickly became one of the most acclaimed releases of 2025, becoming the French selection for Best International Feature at the 2026 Academy Awards.

The making of “It Was Just an Accident” came at great personal risk for Panahi, who filmed the feature in secret in his home country of Iran. Filming without a permit, the movie features a number of a number of actresses not wearing a hijab — thus going against Iran’s hijab law. Panahi has faced several years in prison for his filmmaking in the past.

It’s a story not dissimilar to Mohammad Rasoulof, another Iranian writer/director who filmed 2024’s “The Seed of the Sacred Fig” in secret. One part political commentary, one part family drama and one part horror movie, “The Seed of the Sacred Fig” caused Rasoulof to flee to Germany in secret with members of his cast and crew to avoid imprisonment. Germany selected the film as their representative for Best International Feature at the Academy Awards, with the movie eventually becoming one of 2025’s five nominees.

Hossein Molayemi and Shirin Sohani, who directed the animated short film “In the Shadow of the Cypress,” had their own visa issues at the 2025 Academy Awards. The directors/spouses were nearly unable to attend the Oscars due to difficulties in obtaining their visas. The couple cited financial difficulties and sanctions that they faced in the six-year process of completing their self-financed film, saying that travel only became more difficult under Donald Trump’s second term in office. The pair arrived in Los Angeles only hours before the Academy Awards — where they won Best Animated Short Film.

“It Was Just an Accident” will be released in the United States by Neon on Oct. 15.

The post Jafar Panahi Misses ‘It Was Just an Accident’ NYFF Screening Due to Visa Delays Amid US Government Shutdown appeared first on TheWrap.

“Jason Blum has redefined what’s possible in independent filmmaking, proving that bold vision and creative ingenuity can create global cultural touchstones, even with modest resources,” said Producers Guild of America Presidents Stephanie Allain and Donald De Line. “Through Blumhouse, he has championed fearless storytellers, nurtured fresh voices and established a body of work that spans some of the most successful and inventive films and series of our time. We are proud to recognize his remarkable contributions with the Milestone Award.”

Blum joins a highly esteemed group of filmmakers, producers and industry professionals as a recipient of the PGA’s Milestone Award. In the past, the Producers Guild has recognized such directors as Steven Spielberg, George Lucas, James Cameron, Cecil B. DeMille and Alfred Hitchcock. Producers and studio heads such as Kathleen Kennedy, Michael De Luca, Pamela Abdy, Bob Iger, Amy Pascal and Michael Lynton have likewise received the honor.

“I’m moved to be recognized by my peers with this year’s Milestone Award,” Blum said in response to the honor. “Fifteen years ago, I was a struggling independent producer, and I could never have imagined receiving an honor like this. I’m grateful to Stephanie, Donald, and the PGA for this recognition. The journey here is thanks to our small but mighty team of talented weirdos at Blumhouse, who dedicate themselves every day to the idea that strangers love to be afraid together in the dark; to the audiences who keep showing up for that experience; and, of course, to the brilliant filmmakers, actors, writers, and crew who have entrusted us along the way.”

Blum founded Blumhouse in 2000, creating a production company that would eventually become known primarily for its commitment to producing a variety of horror features. One of its earliest success stories was 2009’s “Paranormal Activity,” which became an example of the low-budget scary movie success that would later define the studio. While Oren Peli’s found footage horror feature was produced for only $15,000 (with an additional $200,000 of post production after being acquired by Paramount), it earned more than $190 million at the global box office, spawning a veritable franchise.

Blumhouse would claim many more success stories down the road, with the studio attached to such horror series as “Insidious,” “The Purge,” “Happy Death Day” and more. This year, Blumhouse slated sequels to “M3GAN,” “The Black Phone” and “Five Nights at Freddy’s” (with the original “Five Nights at Freddy’s” being the studio’s highest-grossing feature).

Blumhouse has also dabbled in existing horror franchises, producing follow-ups and reboots for “Halloween” and Universal monsters, including “The Invisible Man” and “Wolf Man.” In June 2025, Blumhouse acquired the rights to the “Saw” franchise.

Blum has three Academy Awards nominations to his name, producing Best Picture nominees “Get Out,” “Whiplash” and “BlacKkKlansman” — the latter two not being horror features.

Blum has additionally won two Primetime Emmys: Outstanding Television Movie in 2014 for “The Normal Heart” and Outstanding Documentary or Nonfiction Series in 2015 for “The Jinx.” He was also nominated in 2019 for Outstanding Limited Series for “Sharp Objects.”

The 37th Annual Producers Guild Awards will be held on Feb. 28, 2026.

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While the Hollywood-based festival had already announced a slate of red carpet premieres that included Scott Cooper’s “Springsteen: Deliver Me From Nowhere” and Craig Brewer’s “Song Sung Blue” as the opening- and closing-night films, respectively, Tuesday’s announcement fills out the lineup with more than 100 new special screenings, documentaries and international films, including 19 films competing in the Oscars’ Best International Feature Film category.

The festival will include Jarmusch’s “Father Mother Sister Brother,” which  won the Golden Lion at the Venice Film Festival in September; Sorrentino’s “La Grazia,” Herzog’s “Ghost Elephants,” Kaufman’s “How to Shoot a Ghost” and Kaouther Ben Hania’s “The Voice of Hind Rajab,” all of which also premiered in Venice; and Cannes Film Festival premieres that include Fatih Akin’s “Amrum,” Lav Diaz’s “Magellan,” Sergei Loznitsa’s “Two Prosecutors,” the Dardenne brothers’ “Young Mothers,” Simón Mesa Soto’s “A Poet,” Ratchapoom Boonbunchachoke’s “A Useful Ghost” and Mascha Schilinski’s “Sound of Falling.”

The festival will screen films from 56 different countries over a five-day span from Oct. 22-26 in Los Angeles.

Guillermo del Toro, who will serve as the festival’s guest artistic director, has programmed four films: Stanley Kubrick’s “Barry Lyndon,” Federico Fellini’s “Casanova,” Ridley Scott’s “The Duellists” and Pupi Avati’s “Arcane Sorcerer.”

Here is the full list of feature films in the festival. Ticket information and the list of shorts is available at fest.afi.com.

Red Carpet Premieres
“Christy,” David Michôd
“Dead Man’s Wire,” Gus Van Sant
“Jay Kelly,” Noah Baumbach
“Nuremberg,” James Vanderbilt
“Song Sung Blue,” Craig Brewer
“Springsteen: Deliver Me From Nowhere,” Scott Cooper
“The SpongeBob Movie: Search for SquarePants,” Derek Drymon
(Preceded by: “Teenage Mutant Ninja Turtles: Chrome Alone 2 — Lost in New Jersey,” Kent Seki)

Special Screenings
“Bad Apples,” Jonatan Etzler
“Bugonia,” Yorgos Lanthimos
“The Choral,” Alan Bennett
“The Chronology of Water,” Kristen Stewart
“Is This Thing On?” Bradley Cooper
“A Magnificent Life (Marcel et Monsieur Pagnol) ” Sylvain Chomet
“Merrily We Roll Along,” Maria Friedman
“Nebraska Live,” Thom Zimny
“Rebuilding,” Max Walker-Silverman
“Rental Family,” Hikari
“The Testament of Ann Lee,” Mona Fastvold
“Train Dreams,” Clint Bentley

Luminaries
“Amrum,” Fatih Akin
“Father Mother Sister Brother,” Jim Jarmusch
“Ghost Elephants,” Werner Herzog
“How to Shoot a Ghost,” Charlie Kaufman
“Kontinental ’25,” Radu Jude
“La Grazia,” Paolo Sorrentino
“Magellan (Magalhães),” Lav Diaz
“Miroirs No. 3,” Christian Petzold
“Peter Hujar’s Day,” Ira Sachs
“Silent Friend,” Ildikó Enyedi
“The Stranger (L’Étranger),” François Ozon
“Two Prosecutors,” Sergei Loznitsa
“What Does That Nature Say to You,” Hong Sang-soo
“Young Mothers (Jeunes Mères),” Jean-Pierre Dardenne, Luc Dardenne

Discovery
“Amoeba,” Tan Siyou
“Fantasy Life,” Matthew Shear
“Happy Birthday,” Sarah Goher
“Honeyjoon,” Lilian T. Mehrel
“Junkie,” William Means
“Lucky Lu,” Lloyd Lee Choi
“My Father’s Shadow,” Akinola Davies Jr.
“The Mysterious Gaze of the Flamingo (La Misteriosa Mirada del Flamenco),” Diego Céspedes
“The Plague,” Charlie Polinger
“A Poet (Un Poeta),” Simón Mesa Soto
“The President’s Cake (Mamlaket al-Qasab),” Hasan Hadi
“Silent Rebellion (À Bras-le-Corps),” Marie-Elsa Sgualdo
“Sound of Falling (In die Sonne Schauen),” Mascha Schilinski”A Useful Ghost (Pee Chai Dai Ka),” Ratchapoom Boonbunchachok
“We Believe You (On Vous Croit),” Charlotte Devillers, Arnaud Dufeys

World Cinema
“1001 Frames,” Mehrnoush Alia
“All That’s Left of You,” Cherien Dabis
“Case 137 (Dossier 137),” Dominik Moll
“The Currents (Las Corrientes),” Milagros Mumenthaler
“Divine Comedy (Komedié Elahi),” Ali Asgari
“Eagles of the Republic,” Tarik Saleh
“The Great Arch (L’Inconnu de la Grande Arche),” Stéphane Demoustier
“Kokuho,” Sang-il Lee
“Left-Handed Girl,” Shih-Ching Tsou
“Living the Land (Sheng Xi Zhi Di),” Huo Meng
“The Love That Remains (Ástin Sem Eftir Er),” Hlynur Pálmason
“Olmo,” Fernando Eimbcke
“Orphan (Árva),” László Nemes
“Palestine 36,” Annemarie Jacir
“Phantoms of July (Sehnsucht in Sangerhausen),” Julian Radlmaier
“Pin de Fartie,” Alejo Moguillansky
“Promised Sky (Promis le Ciel),” Erige Sehiri
“Romería,” Carla Simón
“The Voice of Hind Rajab,” Kaouther Ben Hania
“Yes,” Nadav Lapid

Documentary
“Andy Kaufman Is Me,” Clay Tweel
“Below the Clouds (Sotto le Nuvole),” Gianfranco Rosi
“Cover-Up,” Laura Poitras, Mark Obenhaus
“The Eyes of Ghana,” Ben Proudfoot
“Fiume o Morte!” Igor Bezinović
“The Hanging of Stuart Cornfeld,” Joan Bofill Amargós
“Holding Liat,” Brandon Kramer
“I Was Born This Way,” Daniel Junge, Sam Pollard
“The King of Color,” Patrick Creadon
“Love+War,” Chai Vasarhelyi, Jimmy Chin
“My Armenian Phantoms (Mes Fantômes Arméniens),” Tamara Stepanyan
“The Ozu Diaries,” Daniel Raim
“Seeds,” Brittany Shyne
“Selena y Los Dinos,” Isabel Castro
“The Tale of Silyan,” Tamara Kotevska

After Dark
“By Design,” Amanda Krame
“Endless Cookie,” Seth Scriver, Peter Scriver
“F—toys,” Annapurna Sriram
“Mārama,” Taratoa Stappard
“Morte Cucina,” Pen-Ek Ratanaruang
“Straight Circle,” Oscar Hudson

Guest Artistic Director
“The Arcane Sorcerer,” Pupi Avati
“Barry Lyndon,” Stanley Kubrick
“The Duellists,” Ridley Scott
“Fellini’s Casanova,” Federico Fellini

The post Jim Jarmusch, Werner Herzog, Charlie Kaufman Movies Headed to AFI Fest appeared first on TheWrap.

“The statement given by the director on ‘Anjila’s’ side is not accurate,” Samundra Bhatta, director of “Gunyo Cholo: The Dress,” told TheWrap in a Monday email. “I have never discussed money with them, nor have I had any conversation on this matter. If there is any proof that I discussed $100,000, I am even ready to undergo a live verification test.”

Bhatta was among the group of Nepali filmmakers who reportedly filed a formal complaint last week with the Academy of Motion Picture Arts and Sciences that challenges the country’s submission of “Anjila,” alleging conflicts of interest and violations of procedure. “Anjila” director Milan Chams dismissed the complaint as “personal disappointment,” and accused Bhatta of offering up to $100,000 to dislodge his movie from consideration before the Oct. 1 submission deadline.

“Anjila” is a biographical drama about Anjila Tumbapo Subba, captain and goalkeeper of Nepal’s women’s national soccer team, who stars as herself, and traces her rise from a restrictive home life to leading the squad. “Gunyo Cholo: The Dress” is the story of a young man who wishes to live his life as a woman, dashing his father’s dreams of a military career and enraging his family.

“The Oscar committee completely neglected our film” during the selection process, Bhatta said. “They did not even attempt to indicate that our film ‘must be watched,’ and it appears that the review was done in a casual or careless manner.”

Bhatta points out irregularities in the process, like the inclusion of the “Anjila” media coordinator as a selection committee judge; that another member did not watch the film because he was in the United States during the shortened viewing window; and that some judges watched the film on a laptop when movie theater screenings were available.

“For raising these questions, false accusations were made against me,” Bhatta told TheWrap. “The director on ‘Anjila’s’ side even misrepresented my Facebook posts. … My position is clear — ‘Anjila’ and the Oscar committee conducted the selection process in a highly secretive manner, which raises serious questions about transparency.

Bhatta says the $100,000 accusation stems from a Sept. 18 post she made on Facebook that was misrepresented. In it, she laments the influence of “money-based games” that undermine creatives and corrupted the selection process, ending with the statement: “Perhaps the Oscar committee does not truly know me. … Otherwise, if money were the only consideration, I could have given each of them hundreds of thousands of dollars — haha, imagine that!”

Bhatta also suggests she was discriminated against “as a female filmmaker.”

“My perspective was not given the attention it deserved, and this raises concerns about fairness and representation in a space where merit should matter most,” she wrote.

Neither Chams nor the Academy immediately returned messages seeking comment.

The Academy requires each country’s selection committee to publish its process but does not dictate procedures beyond compliance with eligibility rules. Nepal’s submission deadline is Oct. 1, after which the Academy will vet entries. The protesting filmmakers are urging the Academy to void Nepal’s submission and order a restart with a 30-day application window and independent oversight.

Nepal is grappling with political turmoil and deadly violence across weeks of anti-corruption protests. The unrest forced the resignation of Prime Minister K.P. Sharma Oli and the installation of an interim government.

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Alina Simone and Marlén Viñayo were named the 2025 Gold Fellowship for Women recipients. Presented in partnership with Chanel, two women are selected annually for the fellowship — one filmmaker based in the U.S., and one non-U.S.-based filmmaker.

“Championing and inspiring new generations of global filmmakers is core to the Academy’s mission, and we’re thrilled to continue this work through the Gold Fellowship for Women,” Kim Taylor-Coleman, Academy governor and president of the Academy Foundation Board, said in a statement. “We are incredibly grateful for the generous support of our partner Chanel, which shares our commitment to nurturing talented women filmmakers and opening doors to meaningful opportunities in the film industry.”

Simone, a Ukranian-born journalist and filmmaker, released her debut documentary “Black Snow” in 2024 on the film festival circuit. The film, executive produced by Erin Brockovich, has since been picked up to release in the U.S. as part of the 2025-2026 season of PBS’ “POV.” Simone’s reporting has been featured in The New York Times, The Wall Street Journal, The Guardian, The Atlantic and NPR, among other publications. Her previous awards include the Cinema Eye Honors Spotlight Award, the F:ACT Award at CPH:DOX, the Sustainable Future Award at the Sydney Film Festival and the International Green Film Award from Cinema for Peace.

Viñayo, who is based in El Salvador, founded the production company La Jaula Abierta Films. She has won awards for both her feature film “Cachada: The Opportunity” and her short film “Unforgivable,” which was nominated for an International Documentary Award. In 2019, Viñayo was nominated for a News and Documentary Emmy for her work on the “Frontline” documentary “Separated: Children at the Border.” Her work has brought her numerous awards at film festivals, including SXSW, IDFA, Hot Docs, Slamdance, Palm Springs ShortFest, Guanajuato International Film Festival, Sebastopol Documentary Film Festival and DocsBarcelona. At Latin American documentary contest POY Latam in 2021, Viñayo won the Gabo Award and was named Ibero-American Filmmaker of the Year.

Simone and Viñayo were selected from a field of six finalists, including Coleen Baik, Jasmín Mara López, Zaynê Akyol and Mor Israeli.

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The protest targets the selection of “Anjila,” a biographical drama about Anjila Tumbapo Subba, captain and goalkeeper of Nepal’s women’s national soccer team, who stars as herself. The film traces her rise from a restrictive home life to leading the squad, highlighting her struggles against social expectations.

Chams called the complaint a “personal disappointment” and accused Samundra Bhatta, director of the competing film “Gunyo Cholo,” of offering up to $100,000 to dislodge his movie from consideration.

“She expressed complete confidence her film would be selected, citing personal relationships with committee members,” Chams said in a statement to Variety.

Neither Chams nor Bhatta responded to requests for comment Saturday. The Academy also did not immediately return messages seeking comment.

Filmmakers Deepak Rauniyar and Binod Paudel, among others, allege the process was conducted in near secrecy. They say the application window was reduced to nine days during a national crisis that included curfews and the prime minister’s resignation, leaving many unable to submit films. They also pointed to committee member Jeevan Kumar Parajuli’s dual role as both a voter and “Anjila’s” media coordinator as an “obvious conflict of interest.”

“This is so unfair to Nepali filmmakers,” producer Ram Krishna Pokharel wrote on social media, criticizing the lack of public notice.

The Academy requires each country’s selection committee to publish its process but does not dictate procedures beyond compliance with eligibility rules. Nepal’s submission deadline is Oct. 1, after which the Academy will vet entries.

The protesting filmmakers are urging the Academy to void Nepal’s submission and order a restart with a 30-day application window and independent oversight.

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AFI Fest also announced a robust slate of films to join its Special Screenings section. These movies include “Bad Apples,” “Bugonia,” “The Choral,” “The Chronology of Water,” “Is This Thing On?,” “A Magnificent Life,” “Merrily We Roll Along,” “Nebraska Live,” “Rebuilding,” “Rental Family,” “The Testament of Ann Lee” and “Train Dreams.” “Bad Apples” from director Jonatan Etzler will have its U.S. premiere at the festival, while Thom Zimny’s “Nebraska Live” will have its world premiere.

Zimny has worked with Bruce Springsteen on a number of projects, including the concert films “Bruce Springsteen & The E Street Band: Live in New York City” and “Springsteen on Broadway.” The filmmaker won an Emmy for each, scoring Outstanding Multi-Camera Picture Editing for a Miniseries, Movie or a Special for the former and Outstanding Directing for a Variety Special for the latter. “Nebraska Live” marks another collaboration for the two, a black-and-white performance of Springsteen’s iconic album “Nebraska.” This album is also at the center of fellow AFI Fest film, “Springsteen: Deliver Me From Nowhere.”

Directed by Etzler, “Bad Apples” is a dark satire following Saoirse Ronan as a school teacher on the brink who inadvertently kidnaps a problem student from her classroom. The German comic thriller, based on Rasmus Lindgren’s novel “De Oönskade,” premiered at TIFF in September.

A number of high-profile directors will screen their latest works at AFI Fest. “Bugonia,” the new collaboration between Yorgos Lanthimos, Emma Stone and Jesse Plemons, was announced as part of the Special Screenings section. Also in that section is Bradley Cooper’s newest directorial effort, “Is This Thing On?” — following Will Arnett as a longtime father and husband who takes up stand-up comedy in the shadow of divorce.

Noah Baumbach’s “Jay Kelly” (premiering Thursday, Oct. 23), which stars George Clooney as an aging movie star and Adam Sandler as his manager, helps round out the Red Carpet Premiere section. James Vanderbilt’s film about the Nuremberg trials (premiering Friday, Oct. 24), based on “The Nazi and the Psychiatrist” by Jack El-Hai, will also screen in the section. Rounding out the new Red Carpet Premiere entries are “Christy,” which stars Sydney Sweeney as acclaimed boxer Christy Martin, and “Dead Man’s Wire,” the first film from Gus Van Sant since 2018. Both films premiere on Saturday, Oct. 25.

AFI Fest, presented by Canva, will run from Oct. 22 to Oct. 26. The full lineup for the festival will be announced on Sept. 30.

Red Carpet Premieres

“Christy,” David Michôd
“Dead Man’s Wire,” Gus Van Sant
“Jay Kelly,” Noah Baumbach
“Nuremberg,” James Vanderbilt

Special Screenings

“Bad Apples,” Jonatan Etzler (U.S. Premiere)
“Bugonia,” Yorgos Lanthimos
“The Choral,” Nicholas Hytner
“The Chronology of Water,” Kristen Stewart
“Is This Thing On?,” Bradley Cooper
“A Magnificent Life,” Sylvian Chomet
“Merrily We Roll Along,” Maria Friedman
“Nebraska Live,” Thom Zimny (World Premiere)
“Rebuilding,” Max Walker-Silverman
“Rental Family,” HIKARI
“The Testament of Ann Lee,” Mona Fastvold
“Train Dreams,” Clint Bentley

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So far, entries include a number of films dealing with the Israeli-Palestinian conflict. Those include Israel’s entry, “The Sea,” which deals with a young Palestinian boy trying to see the sea for the first time; when it became the Israeli selection by winning the top prize at the Ophir Awards, Israel’s version of the Oscars, the government slammed the selection and threatened to withdraw funding from the Ophirs.

Tunisia, meanwhile, has submitted “The Voice of Hind Rajab,” which dramatizes a phone call to emergency services from a 5-year-old Palestinian girl trapped in a car with dead family members; Jordan has entered “All That’s Left of You,” about a confrontation between a Palestinian teen protester and Israeli soldiers; and Palestine has gone with “Palestine 36,” a historical drama about the region’s colonial past.

Other entries deal with climate change (Australia, North Macedonia), fascism and dictatorships (Brazil, Croatia, Hungary, Paraguay, Sweden), LGBTQ issues (Chile, the Czech Republic) and the war in Ukraine (Denmark, Ireland, Ukraine). And France’s entry, “It Was Just an Accident” from Iranian director Jafar Panahi, won the Palme d’Or in Cannes for its wrenching look at the physical and emotional residue of state-sponsored torture.

So far, the submissions include more than 20 films from female directors and about a dozen documentaries. To be eligible, a film must have been released in its home country between Oct. 1, 2024 and Sept. 30, 2025 and must have predominantly non-English dialogue. Each country is allowed to submit a single film, which must be chosen by a selection committee approved by the Academy.

TheWrap has compiled a list of the announced entries, with links to trailers when available. Note: These films have been announced but have not necessarily been vetted by the Academy to determine their eligibility. It’s likely that some of them will be deemed ineligible and will not be included when Academy voters are given their lists of required viewing in late October, and again when the final list of qualifying films is released closer to the end of the year.

In recent years, the international category has typically contained between 85 and 93 films. TheWrap will update this list as additional films are added, and will remove films that don’t qualify once the viewing assignments go out.

ALBANIA
“Luna Park,” Florenc Papas
A coming-of-age drama set amid the civil unrest and economic collapse in Albania in the late 1990s, “Luna Park” is the second feature for Papas. In a story that the director has said was inspired by events from his own childhood, a young man and his single mother flee the country in search of a better and safer life in Greece.
Subtitled trailer

ARGENTINA
“Belén,” Dolores Fonzi
Argentina’s last nomination came for 2022’s legal drama “Argentina, 1985,” and the country has returned this year with another film also based on an actual court case. Working from the nonfiction book “Somos Belén” by Ana Correa, director Dolores Fonzi also stars as an attorney who takes the case of a woman unjustly convicted of committing an illegal abortion, igniting a nationwide women’s movement.
Subtitled trailer

ARMENIA
“My Armenian Phantoms,” Tamara Stepanyan
Stepanyan’s film is a highly personal documentary about her life in cinema, which began when she appeared in a film at the age of 7, and her late father’s career as an actor.  It premiered at the Berlin Film Festival in February.
Subtitled clip

AUSTRALIA
“The Wolves Always Come Out at Night,” Gabrielle Brady
The second feature from director Brady mixes fiction and nonfiction techniques to tell the story of a Mongolian couple who are forced to move to the city after climate change makes their nomadic lifestyle as shepherds unsustainable. The Australian selection committee was unanimous in its choice of the film, which it called “a significant and brilliantly crafted feature film that everyone in the committee regarded as requisite cinema viewing.”
Subtitled trailer

AUSTRIA
“Peacock,” Bernhard Wenger
The feature debut of Wenger is a comedy starring Albrecht Schuch (“All Quiet on the Western Front”) as a man who rents himself out as a companion-for-hire for any and all occasions. The film won the Best First Feature award at the Stockholm International Film Festival and landed a U.S. distribution deal with Oscilloscope.
Subtitled trailer

AZERBAIJAN
“Taghiyev: Oil,” Zaur Gasimli
This historical drama is the first in a series of planned films about the life of Azerbaijani magnate and philanthropist Zeynalabdin Taghiyev, a major figure in the country from the middle of the 19th century through the beginning of the 20th. Filming reportedly took place over a five-year period.
Trailer (no English subtitles)

BANGLADESH
“A House Named Shahana,” Leesa Gazi
A young woman who was married to an Englishman she’d never met as a teenager returns to her native Bangladesh to face the stigma of being a divorcee in Gazi’s adaptation of her 2011 novella. The film is the narrative feature debut for the writer, playwright, actress and director, and it won the Film Critics Gender Sensitivity award after its premiere at the MAMI Mumbai Film Festival in 2023.  
Subtitled trailer

BELGIUM
“Young Mothers,” Jean-Pierre Dardenne and Luc Dardenne
Films by the Dardenne brothers have represented Belgium in the Oscars international race five times since 1999 – but despite winning two Palme d’Ors and acquiring a reputation as formidable auteurs, they’ve never had a film nominated or even shortlisted. Their latest work is another socio-realist drama, this one about a group of young mothers who live together in a shelter. It won the screenplay award at this year’s Cannes Film Festival.
Subtitled trailer

BHUTAN
“I, the Song,” Dechen Roder
A young schoolteacher’s life is upended when a sexually-explicit video appears online featuring a woman who looks just like her. Roder won the best director award at the 2024 Tallinn Black Nights Film Festival for the movie, which also won eight awards at the Bhutan Natioinal Film Awards. It is Bhutan’s fourth Oscar submission, with two of the country’s previous entries making the shortlist and one, “Lunana: A Yak in the Classroom,” receiving a nomination.
Subtitled trailer

BOSNIA AND HERZEGOVINA
“Blum: Masters of Their Own Destiny,” Jasmila Žbanić
This biographical documentary tells the story of Emerik Blum, a businessman who founded the company Energoinvest and pioneered a democratic management style that gave workers a say in how the company was run. It’s the third film by Žbanić to represent Bosnia and Herzegovina at the Oscars; she previously directed one of the country’s two nominated films, the 2020 drama “Quo Vadis, Aida?”
Subtitled trailer

BRAZIL
“The Secret Agent,” Kleber Mendonça Filho
A year after winning the international Oscar for “I’m Still Here,” Brazil has submitted another film set during the country’s military dictatorship of the 1970s – but “The Secret Agent” is less a political film than a quiet thriller about a former teacher who’s hiding from hitmen and exploring his past. Mendonça Filho’s previous films “Neighbouring Sounds” and “Pictures of Ghosts” were the Brazilian Oscar entries in 2013 and 2023, respectively.  
Subtitled trailer

BULGARIA
“Tarika,” Milko Lazarov
Director Lazarov draws from folk tales and magical realism in this film about a rural father who must protect his daughter from ignorant and superstitious villagers when she’s ostracized after developing a bone condition. The film premiered at the London Film Festival  in 2024.
Subtitled trailer

CAMBODIA
“Tenement,” Inrasothythep Neth and Sokyou Chea
A horror film in which a young woman moves into the apartment building where her late mother used to live, “Tenement” nods to both personal and societal trauma. The film premiered at the International Film Festival Rotterdam in 2024 and was released in Cambodia in November of that year.
Subtitled trailer

CANADA
“The Things You Kill,” Alireza Khatami
Canada’s entry is a case study in how international a single film can be: It’s a Turkish-language mystery written and directed by a filmmaker who was born in Iran and now lives in Canada. Turkish actor Ekin Koç stars as a university professor, back home after a stint in the U.S., who hires a gardener to avenge the suspicious death of his mother.
Subtitled trailer

CHINA
“Dead to Rights,” Shen Ao
The second Chinese Oscar entry set during the Nanjing Massacre in World War II (the first being “The Flowers of War,” with Christian Bale), “Dead to Rights” focuses on Chinese civilians who hide in a photo studio and collect photos showing evidence of the Japanese army’s atrocities. It is based on the real-life Huadong Photo Studio, where an apprentice compiled crucial evidence used in war crimes trials.
Subtitled trailer

CHILE
“The Mysterious Gaze of the Flamingo,” Diego Céspedes
The feature debut of writer-director Céspedes, this film is set in a remote Chilean mining town, where a young girl in a transgender commune must fight prejudice and fear when an unknown illness begins to spread. The film won the top award in the Un Certain Regard section of this year’s Cannes Film Festival, where the jury called it “raw and powerful and yet funny and wild.”
Subtitled clip

COLOMBIA
“A Poet,” Simon Mesa Soto
The runner-up to “The Mysterious Gaze of the Flamingo” in the Un Certain Regard section, “A Poet” is a black comedy about the rocky friendship between an aging, unsuccessful poet and a working-class teenager. 1-2 Special will be releasing the film in the U.S.
Subtitled trailer

COSTA RICA
“The Altar Boy, the Priest and the Gardener,” Juan Manuel Fernández
This examination of the case in which a Catholic priest was convicted of sexual abuse is the first documentary to be submitted to the Oscars by Costa Rica. Director Manuel Fernández shot the film over a period of six years and focused on two men who said they were abused by the priest when they were children.

CROATIA
“Fiume o morte!” Igor Bezinović
A documentary about the World War I occupation of the city of Fiume by Gabriele d’Annunzio could be straightforward and scholarly, but Bezinović gives it a spin in this docudrama heavy on reenactments and man-on-the-street interviews with citizens who don’t remember the would-be dictator. The director has called it “a history lesson but retold in a fun way.”
Subtitled trailer

CZECH REPUBLIC
“I’m Not Everything I Want to Be,” Klara Tasovská
The first documentary ever submitted by the Czech Republic, “I’m Not Everything I Want to Be” tells the story of Czech photographer Libuše Jarcovjáková, who began photographing the clients of an underground gay bar in Prague in the mid 1980s but couldn’t publish until 2008. Director Tasovská composed the film from Jarcovjáková’s photos, diaries and voiceover narration.
Subtitled trailer

DENMARK
“Mr. Nobody Against Putin,” David Borenstein
Another documentary in a year long on them, “Mr. Nobody Against Putin” was shot by a Russian teacher, Pavel “Pasha” Talankin, to chronicle the state’s attempts to justify the invasion of Ukraine in schools. After passing his footage to director Borenstein, Talankin left Russia. The film won the World Cinema Documentary Special Jury Award at this year’s Sundance Film Festival.
Subtitled trailer

DOMINICAN REPUBLIC
“Pepe,” Nelson Carlo de Los Santos Arias
Almost certainly the first Oscar-eligible film to be narrated by the ghost of a hippopotamus, “Pepe” is an unclassifiable fantasia based around the musings of a hippo that was taken from Africa to the private zoo of drug lord Pablo Escobar. It has been on the festival circuit since premiering in early 2024 in Berlin, where de Los Santos Arias won the best director award.
Subtitled trailer

ECUADOR
“Chuzalongo,” Diego Ortuño
Folk tales meet modern horrors in this film based on the Andean legend of “El Chuzalongo,” a mysterious monster who assaults women. Bruno Odar plays a priest who investigates the killings of women but must also deal with violence toward indigenous people in the area. “Chuzalongo” was the highest-grossing Ecuadorian film of 2024.
Subtitled trailer

EGYPT
“Happy Birthday,” Sarah Goher
The social hierarchy in Cairo takes center stage in “Happy Birthday,” which stars Doha Ramadan as an 8-year-old maid who is determined to throw a party for the daughter of her employer. The film, Goher’s directorial debut, premiered at the 2025 Tribeca Film Festival and won the Best International Narrative Feature Award.

ESTONIA
“Rolling Papers,” Meel Paliale
A disaffected 20-year-old clerk in Tallinn begins to change his outlook when he meets a young dreamer in what writer-director-editor-composer Paliale says is “a film about young people who don’t know what to do with their lives.” “Rolling Papers” won the audience award in the International Youth Competition section of the Tallinn Black Nights Film Festival.
Subtitled trailer

FINLAND
“100 Litres of Gold,” Teemu Nikki
The art of brewing the Finnish ale called sahti is at the heart of this black comedy about a pair of sisters who whip up the titular 100 liters for their sister’s wedding, then drink it all and must find a way to quickly replace it. The two leads were originally written as men, but director Nikki changed their genders after seeing actresses Elina Knihtilä and Pirjo Lonka in a play.
Subtitled trailer

FRANCE
“It Was Just an Accident,” Jafar Panahi
The Palme d’Or winner at this year’s Cannes Film Festival, “It Was Just an Accident” is a searing drama in which a former political prisoner in Iran kidnaps a mechanic he believes was the intelligence officer who tortured him in prison years earlier. Panahi, who himself had been imprisoned for directing work critical of the Islamic Republic, made the film secretly with a French production company, which had enough creative input to qualify it for submission by that country. The French selection committee chose the film from a shortlist that also included Richard Linklater’s Godard tribute “Nouvelle Vague” and Rebecca Zlotowski’s “A Private Life.” Neon will release the movie in the U.S.
Subtitled trailer

GEORGIA
“Panopticon,” George Sikharulidze
Newcomer Data Chachua plays a conflicted young man whose parents have left him to fend for himself in this coming-of-age story that mixes religion, sexuality, right-wing politics and the concept that we’re all being watched constantly (which gives the film its title). It premiered at the Karlovy Vary International Film Festival in the summer of 2024.
Subtitled trailer

GERMANY
“Sound of Falling,” Mascha Schilinski
Writer-director Schilinski won the Jury Prize in Cannes for the generation-spanning drama set on a farm in the Altmark region of Germany. The film focuses on four young women at intervals over the course of a century, with 1,400 girls auditioning for the four roles during a casting process that lasted for a year.
Trailer (no English subtitles)
Subtitled clip

GREECE
“Arcadia,” Yorgos Zios
Greece’s Oscar submissions often show a taste for the bizarre, but “Arcadia” mixes its fantasy elements into a story of a neurologist and a former physician who are called to identify the victim of a fatal car accident in a remote seaside resort. The film premiered in the Encounters section of the 2024 Berlin Film Festival.
Subtitled trailer

GREENLAND
“Walls—Akinni Inuk,” Sofie Rørdam and Nina Paninnguaq Skydsbjerg

This rare submission from Greenland is a documentary about Ruth Mikaelsen Jerimiassen, who became friends with codirector Skydsbjerg while serving an indefinite prison sentence for attempted murder. Greenland has only entered the Oscar race three times, with the previous submissions coming in 2010 and 2012. It received a special ruling from the Academy to submit films in the international category even though it is an autonomous territory of Denmark rather than an independent country.
Subtitled trailer

HAITI
“Kidnapping Inc.,” Bruno Mourral
Mourral’s directorial debut is a comedic thriller about a pair of hapless gangsters who are tasked with transporting the kidnapped son of a local politician. The film was originally submitted to the Oscars last year but did not qualify.
Subtitled trailer

HONG KONG
“The Last Dance,” Anselm Chan
The highest-grossing domestic film in Hong Kong history, “The Last Dance” follows a wedding planner who decides to explore the meaning of death during the pandemic by taking over a funeral parlor. Dayo Wong stars as the wedding planner and Michael Hui plays a Taoist priest who performs funeral rituals.
Subtitled trailer

HUNGARY
“Orphan,” László Nemes
The first time Nemes directed a feature, the film was 2015’s “Son of Saul,” one of two Hungarian films that has won the international Oscar. His new film, which premiered at this year’s Venice Film Festival, focuses on a young boy in post-World War II Hungary and takes place largely around the 1957 uprising against the communist regime; it has its roots in Nemes’ father’s search for his biological father.
“Official” clip (but it’s only 10 seconds long)
Trailer (no subtitles)

ICELAND
“The Love That Remains,” Hlynur Pálmason
Pálmason has been Iceland’s go-to director for Oscar submissions in recent years, with three of the country’s last seven entries and two of the last three, including the shortlisted “Godland” two years ago. “The Love That Remains” is a drama that covers a year in the life of a family after the parents separate. In Cannes, its canine costar, Panda, won the tongue-in-cheek Palm Dog award for the festival’s best canine performance.
Subtitled clip

INDIA
“Homebound,” Neeraj Ghaywan
India has a very mixed track record at the Oscars, with only three nominations and no wins in 58 submissions and a recent history of bypassing such likely nominees as “The Lunchbox,” “RRR” and “All We Imagine as Light” in favor of more typically Indian films. But “Homebound,” a Hindi-language drama about two childhood friends trying to become police officers, showed it could potentially appeal to voters when it was named second runner-up to “No Other Choice” and “Sentimental Value” for the Toronto Film Festival’s People’s Choice Award for international films. Martin Scorsese signed on as executive producer.
Subtitled trailer

INDONESIA
“Sore: Wife From the Future,” Yandy Laurens
You don’t see too many Oscar entries based on existing web series, but Laurens’ film is one of those, drawn from his 2017 sci-fi romance series. Dion Wiyoko reprises his role as a young man living in Croatia, while Sheila Dara Aisha plays Sore, a woman who says she’s his wife from the future.
Trailer (no English subtitles)

IRAN
“Cause of Death: Unknown,”  Ali Zarnegar
A group of strangers traveling through the desert face a moral dilemma when one of them dies unexpectedly while carrying a lot of money but no identification. The film has been touted for showing “the moral principles of the Iranian people,” but its choice over Jafar Panahi’s “It Was Just an Accident” led to calls for the Iranian government to have less influence on the selection of Oscar entries.  
Subtitled trailer

IRAQ
“The President’s Cake,” Hasan Hadi
Hadi won the Camera d’Or for the best first film at this year’s Cannes for this drama, which stars Baneen Ahmad Nayyef as a 9-year-old girl who is assigned to bake a cake for the president’s birthday. Chris Columbus, Marielle Heller and Eric Roth have signed on as executive producers, while Sony Pictures Classics will release the film in the United States.
Subtitled trailer

IRELAND
“Sanatorium,” Gar O’Rourke
Irish director O’Rourke went to Ukraine for this comic documentary about the residents of the Kuyalnik Sanatorium, a former Soviet health center in southern Ukraine that now treats and shelters resilient patients while the war rages outside. The film premiered at the Copenhagen International Documentary Film Festival in March.
Subtitled trailer

ISRAEL
“The Sea,” Shai Carmeli-Pollak
Rather than using an AMPAS-approved selection committee to choose its Oscar entry, as most countries do, Israel automatically gives the slot to the winner of its annual Ophir Awards, its version of the Oscars. This year, that process resulted in one of the race’s most controversial submissions: “The Sea,” a drama about a Palestinian boy in the West Bank trying to see the sea for the first time that dominated the Ophirs with six awards. Angry that the country was submitting a film from a Palestinian point of view, Israel’s minister of culture threatened to withdraw government funding for the Ophirs, which he termed a “shameful ceremony that spits on heroic I.D.F. soldiers.”
Subtitled trailer

ITALY
“Familia,” Francesco Constable
One of the lowest-profile Italian submissions in years, “Familia” is a biographical drama based on the memoir of Luigi Celeste, a onetime far-right militant and the son of a violent father. Star Francesco Gheghi won the best actor award in the Orizzonti section of the 2024 Venice Film Festival, where the film premiered. The film beat out 23 other titles in the running to represent Italy, including some from this year’s Venice festival, among them Gianfranco Rosi’s “Below the Clouds” and Pietro Marcello’s “Duse.”
Subtitled trailer

JAPAN
“Kokuho,” Lee Sang-il
Director Lee hasn’t represented Japan in the Oscar race since “Hula Girls” in 2006, but he’s back after that 19-year absence with “Kokuho,” a drama about the son of a yakuza gangster who is adopted by a kabuki actor when he’s in his teens. It is only the fourth live-action Japanese film to pass 10 billion yen at the box office.
Subtitled trailer

JORDAN
“All That’s Left of You,” Cherien Dabis
Born in Nebraska to parents of Palestinian and Jordanian descent, actor-director Dabis is best known for the 2009 indie feature “Amreeka” and for directing episodes of “Only Murders in the Building,” “Ozark” and “Ramy.” She directs and acts in “All That’s Left of You,” which flashes back to the life of a Palestinian teenager before he’s confronted by Israeli soldiers.
Subtitled clip

KAZAKHSTAN
“Cadet,” Adilkhan Yerzhanov
A military school for teenage boys becomes a place of bullying and even murder in this dark drama from Kazakhstani director Yerzhanov, who also represented the country four years ago with a lighter film, “Yellow Cat.” The film premiered at the Tokyo International Film Festival in 2024 and also screened at the Berlin Film Festival in 2025.
Subtitled trailer

KYRGYZSTAN
“Black Red Yellow,” Aktan Abdykalykov
Kyrgyzstan has submitted 18 films to the Oscars since 1998, and one-third of those have come from Abdykalykov, though his 2023 entry “This Is What I Remember” turned out to be ineligible. His new film, based on short stories by Topchugul Shaidullaeva, focuses on the relationship between a traditional carpet maker and a horse herder.
Trailer (no English subtitles)

LATVIA
“Dog of God,” Lauris Abele and Raitis Abele
For the second year in a row, Latvia has submitted an animated film to the Oscars international race – which makes sense, considering that last year’s entry, “Flow,” was nominated in the international category and won for Best Animated Feature.  “Dog of God” is a work of adult animation based on the true story of the 17th century man Thiess of Kaltenbrun, who claimed to be a werewolf and was convicted of heresy. The film premiered at the Tribeca Film Festival.
Trailer (no subtitles, but minimal dialogue)

LEBANON
“A Sad and Beautiful World,” Cyril Aris
Second-time director Aris follows a man and woman who were born on the same day in a Lebanese hospital over three stormy decades in this film, which premiered in the independent Giornate degli Autori section of the Venice Film Festival. Aris said he wanted to tell the contemporary history of Lebanon through a love story.
Subtitled clip

LITHUANIA
“Southern Chronicles,” Ignas Miškinis
This coming-of-age drama about a 17-year-old boy who is smitten by a middle-class girl had the biggest opening weekend in the history of Lithuania, on its way to becoming the top-grossing Lithuanian film in history. The selection committee lauded its “exceptional vitality, pulsating energy and the hope it radiates.”  
Subtitled trailer

LUXEMBOURG
“Breathing Underwater,” Eric Lamhene
The setting for this drama is a women’s shelter for victims of domestic violence. Director Lamhene and writer-cinematographer Rae Lyn Lee decided to make the film while doing research for a different movie; they toured a shelter and realized the institution was more vibrant and strong than they’d imagined.
Subtitled trailer

MEXICO
“We Shall Not Be Moved,” Pierre Saint-Martin
Another film that has been on the festival circuit since early 2024, “We Shall Not Be Moved” is an occasionally absurdist black comedy about a woman pursuing the soldier who killed her brother during a 1968 student protest in Mexico City. At the Ariel Awards, presented by the Mexican Academy of Cinematographic Arts and Sciences, the film won awards as Best First Work and for its screenplay, actors Luisa Huertas and José Alberto Patiño.
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MONGOLIA
“Silent City Driver,” Janchivdorj Sengedorj
The lead character of this moody and occasionally surreal drama is a loner who has just been released after serving more than a dozen years in prison, and who finds companionship in a young woman and a Buddhist monk. The film won the Grand Prix as the best film at the Tallin Black Nights Film Festival.
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MONTENEGRO
 “The Tower of Strength,” Nikola Vukčević
A return to that old Oscar standby, the World War II drama, “The Tower of Strength” is centered on a Christian child who escapes after an attack on his village and a Muslim stranger who helps him get away. The selection makes Vukčević the first director to represent Montenegro in the Oscar race more than once.
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MOROCCO
“Calle Málaga,” Maryam Touzani
Touzani and her husband, Nabil Ayouch, have dominated the Moroccan Oscar entries in recent years, directing six of the last nine submissions (plus three more for Ayouch between 1998 and 2013). Touzani’s last entry, 2022’s “The Blue Caftan,” made the shortlist, and “Calle Málaga” takes a seemingly somber subject – an elderly woman being forced out of the apartment she’s lived in in Tangier – and turns it into a touching, charming crowd-pleaser, thanks largely to a vibrant lead performance by legendary Spanish actress Carmen Maura (“Women on the Verge of a Nervous Breakdown”).
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NEPAL
“Anjila,” Sven Bresser
This inspirational sports drama is based on the story of Nepalese soccer star Anjila Tumbapo Subba, who plays herself despite no previous acting experience. The selection led to controversy when the director of another film claimed that the committee choosing Nepal’s submission had conflicts of interest and didn’t follow its usual procedure.
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NETHERLANDS
“Reedland,” Sven Bresser
Debuting in the Critics’ Week sidebar at the Cannes Film Festival, “Reedland” is a psychological thriller starring Gerrit Knobbe as a reed cutter who finds the body of a young girl on his land. His growing determination to discover what happened threatens to uncover dark secrets.  
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NORTH MACEDONIA
“The Tale of Silyan,” Tamara Kotevska
The last time Kotevska entered the Oscars international race was with the 2019 documentary “Honeyland,” which became the first film ever nominated in both the international and doc-feature categories. Her follow-up, “The Tale of Silyan,” is another film set in rural North Macedonia; it’s partly an exploration of an old myth about the White storks that are common in the area and partly the story of a farmer whose family leaves the country in search of work after government policies destroy farming profits.
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NORWAY
“Sentimental Value,” Joachim Trier
One of the most acclaimed of this year’s entries, “Sentimental Value” stars Stellan Skarsgård as an aging director, Renate Reinsve as his estranged daughter and Elle Fanning as a famous American actress starring in his new movie. After its Cannes premiere, the film won the Grand Prix, second only to the Palme d’Or, and signed a U.S. distribution deal with Neon. It marks Trier’s fourth time representing Norway in the race, after “Reprise” in 2006, “Thelma” in 2017 and nominee “The Worst Person in the World” in 2021.
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PALESTINE
“Palestine 36,” Annemarie Jacir
Rather than choose a charged political story, Palestine has gone with a historical drama from Jacir, who has previously directed the Oscar entries “Salt of This Sea,” “When I Saw You” and “Wajib.” Hiam Abbass, Liam Cunningham and Jeremy Irons are among the actors in this story of colonial oppression and rising resistance began to transform the region.
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PANAMA
“Beloved Tropic,” Ana Endara
A dozen years after her luminous performance in the Chilean Oscar entry “Gloria,” Paulina Garcia is back in the race as an upper-class woman suffering from dementia in this drama that premiered in Toronto in 2024. Jenny Navarrette plays her immigrant caregiver.
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PAPUA NEW GUINEA
“Papa Buka,” Bijukumar Damodaran (Dr. Biju)
The first-ever submission from Papua New Guinea is a historical drama about a World War II veteran who helps a pair of historians research the collaboration of Indian, British and Australian forces in that war. Indian director Damodaran, also known as Dr. Biju, oversaw the first Indian-Papua New Guinea film coproduction.
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PARAGUAY
“Under the Flags, the Sun,” Juanjo Pereira
How does a dictatorship use the media to gain and retain power? That’s the question that “Under the Flags, the Sun” sets out to answer by looking at the Paraguayan media archives of the 35-year rule of Alfredo Stroessner, which ended in 1989. The documentary won the FIPRESCI Prize at the 2025 Berlin Film Festival.  
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PERU
“Motherland,” Marco Panatonic
The tug-of-war between a rural life and modernization is at the heart of “Motherland” (formerly “Kinra”), a film about a man from the mountains of southwestern Peru who wants to study engineering in the city of Cusco but doesn’t want to leave his mother and sister. The film premiered at the Mar del Plata International Film Festival back in late 2023, then played other festivals for a year before its theatrical release in Peru in November 2024.
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PHILIPPINES
“Magellan,” Lav Diaz
Lav Diaz has been making epic-length works of so-called “slow cinema” for more than 20 years, which makes the two-hours-and-36-minute running time of his historical drama “Magellan” feel positively brisk. (His last Oscar entry, 2013’s “Norte, the End of History,” was four hours and 10 minutes long, while he’s made seven films that range from 5:39 to 10:24.) “Magellan” stars Gael Garcia Bernal as the Portuguese explorer and will be released in the U.S. by Janus.
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POLAND
“Franz,” Agnieszka Holland
Holland’s films have been chosen to represent Poland, Germany and the Czech Republic at the Oscars, and she was nominated for Best Adapted Screenplay for “Europa Europa” when Germany opted not to submit it in the international category. Her new film, “Franz,” is an unconventional look at writer Franz Kafka, alternating scenes in which Idan Weiss plays Kafka with looks at the author’s continuing influence.
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PORTUGAL
“Banzo,” Margarida Cardoso
The title of this film comes from the word used to describe a melancholy that affected enslaved people on colonial plantations, a world that Cardoso had explored in her documentaries. She shot this narrative film set in 1907 on the African islands (and former Portuguese colony) of São Tomé and Príncipe, where ruins still exist of the kind of cocoa plantations depicted in the movie.
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ROMANIA
“Traffic,” Teodora Mihai
A group of Romanian immigrants in Belgium pull off a major robbery in this film based on a 2012 museum heist by Romanians in the Netherlands. The film was written by Cristian Mungiu, the Romanian New Wave director who made the Oscar shortlist with “Beyond the Hills” in 2012 and helped spur a change in the category’s rules when his “4 Months, 3 Weeks and 2 Days” wasn’t nominated in 2007.
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SENEGAL
“Demba,” Mamadou Dia
The unanimous choice of Senegal’s selection committee (from the four films it had to choose from) was this drama about a smalltown mayor facing retirement after three decades in that job. The film focuses on the mayor’s lingering grief over the death of his wife a year earlier, and his relationship with a son who’d been largely estranged.
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SERBIA
“Sun Never Again,” David Jakovljević
Inspired by director Jakovljević’s own childhood, “Sun Never Again” focuses on a young boy who lives in a small Serbian village next to a huge iron ore mine that threatens the family’s existence. Infusing a grim story with magical realism, the director has said he was influenced by the late David Lynch’s recording of Bob Dylan’s “The Ballad of Hollis Brown” from his 2013 album “The Big Dream.”
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SINGAPORE
“Stranger Eyes,” Yeo Siew Hua
The first Singaporean film selected for the main competition at the Venice Film Festival, “Stranger Eyes” is a mystery thriller about a man whose daughter goes missing and who realizes that the most private moments of his family’s daily life are being recorded. Yeo previously represented Singapore in the Oscar race with his 2018 film “A Land Imagined.”

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SLOVAKIA
“Father,” Tereza Nvotova
When a father inadvertently leaves his young daughter in the car rather than dropping her off at kindergarten, his life spirals out of control. The film, which was based on an incident in the life of a friend of cowriter Dušan Budzak, was shot in long, uninterrupted takes – a style, director Nvotova said, that she adopted because she wanted “something immersive, experiential – almost like a video game, but grounded in very different circumstances, ones that draw us deeper into ourselves.”  
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SLOVENIA
“Little Trouble Girls,” Urška Djukić
An introverted 16-year-old girl experiences an awakening at a weekend retreat for the all-girls choir in her Catholic school in the feature debut of Djukić, an award-winning director of short films. “Little Trouble Girls” won the Berlinale Perspectives FIPRESCI Prize and the cinematography award at the Tribeca Film Festival earlier this year.
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SOUTH AFRICA
“The Heart Is a Muscle,” Imran Humdulay
A childish prank causes a panicked thirtysomething father to lose control and beat up an innocent man in this drama about personal redemption starring South African singer and TV star Keenan Arrison. The film premiered at this year’s Berlin Film Festival.
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SOUTH KOREA
“No Other Choice,” Park Chan-wook
Korean director Park wasn’t chosen to represent his country when he made his best known films, including “Oldboy” and “The Handmaiden.” But his films have been selected twice in the last four years, first with the shortlisted “Decision to Leave” in 2022 and now with “No Other Choice,” a black comedy in which a laid-off worker goes to extremes to eliminate the competition while looking for a new job. The film is based on the 1997 Donald Westlake novel “The Ax,” though it’s driven by Park’s particular kind of carefully choreographed anarchy and madness.
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SPAIN
“Sirât,” Oliver Laxe
At the beginning of Laxe’s brutally hellish film, a man and his young son cross the Moroccan desert to attend a rave in search of his missing daughter. They don’t find her, but they’re swept into a maelstrom of bad vibes and catastrophic twists that make it pretty easy to answer the question asked by one character: “Is this what the end of the world feels like?” Neon bought the movie after its Cannes premiere and will release it in North American later this year.
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SWEDEN
“Eagles of the Republic,” Tarik Saleh
Egyptian-Swedish director Saleh is fond of using his movies to examine the corruption of power and the slippery moral slope it entails, and that subject landed him on the Oscar shortlist three years ago with “Boy From Heaven.” This film is set in the world of filmmaking, with Fares Fares playing a movie star who revives his career but complicates his life when he agrees to star in a propaganda film about Egyptian President Abdel Fattah el-Sisi.
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SWITZERLAND
“Late Shift,” Petra Volpe
German actress Leonie Benesch starred in the Oscar-nominated “The Teacher’s Lounge” two years ago and in “September 5” last year, and she’s back this year in the lead role of this drama about an overworked surgical nurse facing an avalanche of complications during an exhausting shift. Director Volpe was last in the Oscar race with her 2017 film “The Divine Order.”
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TAIWAN
“Left-Handed Girl,” Shih-Ching Tsou
In Tsou’s gentle family drama, a mother and her two daughters move into the city and struggle to carve out a new life in the night market where their small restaurant occupies a modest space. The Taiwanese-American director has frequently collaborated with Sean Baker, who was editing this film on nights and weekends during the Oscar campaign that led to his multiple awards for “Anora.” Netflix bought this film out of its Cannes premiere in the Critics’ Week section and plans a November release.
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TAJIKSTAN
“Black Rabbit, White Rabbit,” Shahram Mokri
Mokri’s mystery drama weaves together a number of disparate stories, from a shady gun deal to a film set where the prop gun just might be real. Tajikstan has only submitted films to the Oscars five times, with two of its previous submissions found to be ineligible.  
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THAILAND
“A Useful Ghost,” Ratchapoom Boonbunchachoke
This is another family drama from Asia, albeit one that slides into black comedy, supernatural moments and the casual surrealism that often animates the best Southeast Asian cinema. The directorial debut of Boonbunchachoke finds the spirit of a dead woman inhabiting a vacuum cleaner, not to scare people but to help out the husband who has been left on his own.
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TUNISIA
“The Voice of Hind Rajab,” Kaouther Ben Hania
Ben Hania’s films have been nominated twice in recent years, once in the international category for her 2020 drama “The Man Who Sold His Skin” and once for last year’s documentary “Four Daughters.” The latter film mixed fictional and nonfictional techniques, and “The Voice of Hind Rajab” does the same: On its soundtrack, it uses the actual recording of a 70-minute phone call that 5-year-old Palestinian girl Hind Rajab made to Red Crescent emergency volunteers from a car in Gaza where she was trapped with the bodies of family members who had been killed by Israeli soldiers. Actors re-create the panicked scene in the Red Crescent offices, making the film almost unbearably harrowing.
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TURKEY
“One of Those Days When Hemme Dies,” Murat Fıratoğlu
First-time director Fıratoğlu plays a day laborer searching a Turkish town to shoot the boss who didn’t pay him in this film that won the Special Jury Prize in the Orizzonti section at the 2024 Venice Film Festival. Turkey has been submitting films to the Oscars since 1964 but is still looking for its first nomination.
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UKRAINE
“2000 Meters to Andriivka,” Mstyslav Chernov
Two years ago, Chernov won the Best Documentary Feature Oscar for his Ukrainian doc “20 Days in Mariupol.” He has reteamed with the Associated Press and Frontline for this film, which followed Ukrainian forces as they recaptured the Russian-occupied city of Andriivka.
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URUGUAY
“Don’t You Let Me Go,” Ana Guevara and Leticia Jorge
Chiara Hourcade and Victoria Jorge star in this drama as a grief-stricken woman and her best friend, who has just died. The film won the Nora Ephron Award after its 2024 premiere at the Tribeca Film Festival.
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VENEZUELA
“Ali Primera,” Daniel Yegres
This biopic of Venezuelan singer Alí Primera was inspired by Primera’s “Song to Remember Me,” using a non-linear structure and casting four different actors to play the singer at different stages of his life.
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VIETNAM
“Red Rain,” Đặng Thái Huyền
Vietnam has often submitted action films or quirky comedies to the Oscars, but this year’s submission is a large-scale war film set in and around the Second Battle of Quảng Tri in 1972.  Directed and co-written by Đặng Thái Huyền, the film became the highest-grossing Vietnamese film of all time in its home country.
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