Beyond Laapata Ladies: India’s Oscar Submissions You Need to Know

The buzz around Kiran Rao’s Laapata Ladies as India’s official Oscar entry this year is very well-deserved. The film is about two young brides who are accidentally switched on the train to their new sasural and what follows is incredibly relevant political commentary disguised as a comedy of errors. While the film’s acceptance by the Oscar committee was no surprise, there were 28 other films of varied languages that competed bravely as India’s submissions to the prestigious award. Of the 28, we have curated a list of 5, one from each language– so that you can explore some of the finest regional cinema India has to offer this year. These films, though not selected for the Oscars, showcase diverse storytelling, rich cultural landscapes, and unique perspectives from across the country. From gripping dramas to heartwarming tales, each film highlights the depth and creativity within India’s film industry. Here’s our list of five standout Oscar entries that deserve your attention.

All We Imagine As Light

Malayalam

All We Imagine As Light is no stranger to fame after it bagged the elusive Palme D’or at the Cannes Film Festival. It had been three decades since an Indian film won the award and though it was Payal Kapadia’s directorial debut, it won many hearts with its poignant storytelling. Starring Kani Kusruti, Divya Prabha, and Chhaya Kadam, the film is set in Mumbai, when Nurse Prabha’s routine is troubled upon receiving an unexpected gift from her estranged husband. Her younger roommate, Anu, tries in vain to find a spot in the city to be intimate with her boyfriend. A trip to a beach town allows the two women to find a space for their desires to manifest.

Kill

Hindi

Kill, by director Nikhil Nagesh, was recently featured at the Toronto International Film Festival and is also familiar with its fair share of success much like All We Imagine As Light. Inspired by a personal experience involving bandits while travelling by train, Nagesh spun a story about what truly horrific train raid might look like. The film follows a crew of 40 thieves who board a train, intending to steal passengers’ valuables. Upon running into a couple of no nonsense commandos, the bandits soon turn bloodthirsty, making for a spectacular action-thriller.

Kottukkali

Tamil

In this lull of a Tamil-language film, filmmaker PS Vinothraj, delicately and deliberately takes time to unfold the narrative. Kottukkali, with its glacial camera lingering long after the action is over, can most certainly be categorised into the ‘slow cinema’ genre of films marked by the likes of Ingmar Bergman and, the more recent, Jim Jarmusch. The plot meanders through rural regions in the state, offering mundane glimpses into the lives of its characters. It follows Meena (Anna Ben) in her silent rebellion against her husband  Pandi (Soori). Other characters include Meena’s family, who force her to see an exorcist hoping to cure her ‘ailment’. The film is subtle in its exploration of caste dynamics in the village and steers clear from the sensational tone that typically inform these films with these themes.

Aabha

Odia

Aabha tells the story of a differently abled young girl in a remote Indian village. Director Pallab Roy debuts actress, Sona Mallik in the lead, while Anu Chaudhary and Sweta Acharya play key roles. The plot follows the lead character’s journey, shedding light on the societal challenges faced by those with disabilities. More than the struggles of a differently-abled person, the film tracks how their social surroundings create a far more difficult life for them with biases and underestimations. Aabha aims to enlighten minds and shift societal perceptions.

Gharat Ganpati

Marathi