'Court' and 'Newton' to 'Homebound' tracing India’s Oscar journey over ten years; India's official entries

The 98th Academy Awards nominations were announced, ending weeks of anticipation worldwide. In India, attention centered on Homebound, directed by Neeraj Ghaywan, which reached the final shortlist in the Best International Feature Film category but missed a nomination. Backed by Dharma Productions and led by Karan Johar, the film starred Ishaan Khatter, Vishal Jethwa, and Janhvi Kapoor. Attention now shifts to Oscar frontrunners such as One Battle After Another and Sinners. The ceremony will be held on March 15, with Conan O'Brien as host.

Homebound became India’s latest official Oscar entry, continuing the trend toward grounded storytelling. The film explored displacement, belonging, and emotional return, themes that resonate globally. With a focus on personal loss rather than spectacle, Homebound aimed to speak across borders. Its selection suggested a growing confidence in subtle narratives that trust viewers to sit with silence and feeling.

Laapataa Ladies brought humour and social observation together. Produced by Aamir Khan and directed by Kiran Rao, the film followed two brides accidentally swapped during a train journey. Beneath its gentle comedy lay sharp commentary on patriarchy and rural life. The selection was praised for balancing accessibility with insight, offering a distinctly Indian story told with warmth and clarity.

2018 revisited the devastating Kerala floods through multiple human stories. Directed by Jude Anthany Joseph, the film focused on survival, resilience, and collective effort. Its large ensemble and emotional scale set it apart from quieter recent entries. The Oscar submission reflected India’s willingness to present disaster narratives rooted in real events and shared trauma.

Chhello Show, released internationally as Last Film Show, was a nostalgic tribute to cinema itself. Directed by Pan Nalin, the Gujarati film followed a boy discovering movies in a rural town. Inspired partly by the director’s childhood, it celebrated theatrical viewing in a digital age. The entry struck an emotional chord, especially amid concerns over vanishing single-screen theatres.

Koozhangal was an austere, emotionally spare choice. Also known as Pebbles, the Tamil film traced a father and son walking through a harsh landscape after a domestic dispute. Directed by Vinothraj PS, it used silence and terrain as storytelling tools. Its selection signalled India’s continued faith in minimalist cinema rooted in lived experience rather than spectacle.

Jallikattu was a visceral, chaotic entry from Malayalam cinema. Directed by Lijo Jose Pellissery, the film followed a village thrown into frenzy after a buffalo escapes. With pounding sound design and relentless pace, it explored human instinct and mob mentality. Jallikattu later became only the third Indian film to reach the Oscars shortlist, earning rare international notice.

Gully Boy brought mainstream energy to India’s Oscar journey. Inspired by Mumbai’s underground rap scene, the film starred Ranveer Singh and Alia Bhatt and featured original hip-hop tracks. Directed by Zoya Akhtar, it blended social reality with commercial appeal. Gully Boy also became India’s first submission chosen from the newly introduced Film Federation screening process.

Village Rockstars was a deeply personal pick from Assam. Written, directed, shot, and edited by Rima Das, the film followed a young girl dreaming of forming a rock band. Made on a shoestring budget with local actors, it captured rural life with warmth and honesty. Its Oscar submission highlighted how small, intimate stories from India’s margins could travel far.

Newton stood out for its sharp political satire. Starring Rajkummar Rao, the film followed an earnest election officer working in a conflict zone. Its humour was dry, its message pointed, and its tone refreshingly restrained. Newton later made the Oscar shortlist, a rare achievement, and sparked debate at home about democracy, duty, and the gap between process and reality.

Visaranai was India’s official entry after winning international acclaim. Directed by Vetrimaaran, the Tamil film exposed custodial violence through a harrowing, realistic lens. It was based on real-life experiences and avoided melodrama, letting brutality speak plainly. Visaranai premiered at Venice and won the Amnesty International award, reinforcing how regional Indian cinema could confront power and injustice without compromise.

Court marked India’s official Oscar entry with its quiet, courtroom realism. Directed by Chaitanya Tamhane, the Marathi film follows a folk singer accused under an outdated law. Its strength lay in restraint, using long takes and everyday detail to show how institutions work. Court travelled widely on the festival circuit and won awards at Venice, drawing global attention to India’s indie cinema voice.