Why Cannes Winner ‘All We Imagine as Light’ Was Snubbed by India’s Oscar Committee in Favor of ‘Laapataa Ladies’

Each year, as fall approaches, India’s famously unpredictable Oscar committee takes center stage to pick their candidate in a process as dramatic as any Bollywood blockbuster.

As always, the influential body behind the committee, the Film Federation of India (FFI), brought together a special jury of industry veterans to sift through the year’s cinematic offerings to choose the one film that will represent India. But while the country boasts the world’s most prolific film industry, its track record in the international feature film race has fallen short with many missed opportunities. The most notorious example is Ritesh Batra’s “The Lunchbox” which was not selected in 2013 despite having earned widespread critical laurels.

Some eyebrows were also raised when global hit “RRR” wasn’t picked as India’s Oscar candidate in 2022. The FFI saved face, nevertheless, after its official submission, Pan Nalin’s “Last Film Show,” made the international features shortlist. “RRR” was submitted separately and went on to win the Oscar for original song. But this time around, the snub of “All We Imagine as Light,” which was the first Indian film to play in competition at Cannes in 30 years and was even shortlisted by France’s Oscar committee, may set a new precedent.

This year’s choice, Kiran Rao’s “Laapataa Ladies” (“Lost Ladies”) — despite being an acclaimed film that debuted at the Toronto International Film Festival in 2023 and with a successful box office run in India — could be considered disappointing for some, especially those outside of the Indian film industry. That’s because all the latest heat and noise has been in favor of “All We Imagine as Light,” which broke a 30-year Cannes competition hoodoo for India, went on to win the Grand Jury Prize and suddenly elevated its director Payal Kapadia from documentary-maker to celebrated auteur.

Kapadia became the first Indian woman filmmaker to win the Grand Prize at Cannes and the film is in the process of being one of the most widely distributed Indian indie films of all time. Deals are in place for the U.S., U.K. and France — the three countries with the highest numbers of Academy voters. The selection of the movie as India’s Oscar candidate appeared to be a shoo-in, especially after it made the French Oscar shortlist. Ultimately, the French committee Jacques Audiard’s “Emilia Perez,” leaving “All We Imagine as Light” up for grabs by India’s committee.

So, why did “Laapataa Ladies” win India’s support? Apart from its obvious cinematic merits, the answer could lie in the financial clout of one of its producers — billionaire Mukesh Ambani’s Indian behemoth Jio Studios, part of India’s largest conglomerate, Reliance Industries Limited — and the visibility of another, Aamir Khan, who scored an Oscar nomination for “Lagaan.” Campaigning is expensive business and now that “Laapataa Ladies” is India’s choice, it will need the combined might of its producers to see it reach the international feature shortlist. The film is also already available on Netflix, where it is a streaming success, adding to its accessibility.

In a statement upon its Oscar selection, Jyoti Deshpande, president of media and content business at Reliance Industries Limited, said: ”’Laapataa Ladies’ being selected as India’s entry for Oscar is a true testimony of our vision and commitment to make in India and show the world… This film has got unlimited love from audiences all over the world already and is one of the most watched films globally on OTT [streaming] after its unusually long and resilient theatrical run… Jio Studios will do everything in our power to make India proud on a global stage and I thank the Film Federation of India for this honor and privilege.”

Among the other Indian contenders who didn’t make the cut, Anand Ekarshi’s “Aattam” won best film this year at India’s National Film Awards and was a frontrunner — but not a shoo-in — because, unlike some other countries such as Israel, the national prize winner in India is not guaranteed Oscar selection.

Thematically, all three of India’s frontrunners this year were women-oriented subjects. Both “All We Imagine as Light” and “Laapataa Ladies” are female empowerment stories, while “Aattam” dealt with the aftermath of a sexual assault incident.

The FFI said in its citation: “Indian women are a strange mixture of submission and dominance. Well-defined, powerful characters in one world, ‘Laapataa Ladies’ (Hindi) captures this diversity perfectly, though in a semi-idyllic world and in a tongue-in-cheek way. It shows you that women can happily desire to be homemakers as well as rebel and be entrepreneurially inclined. A story that can simultaneously be seen as one that needs change, and one that can bring about change. ‘Laapataa Ladies’ (Hindi) is a film that can engage, entertain and make sense not just to women in India but universally as well.”

Despite boasting a rich cinematic heritage and a massive film output, India has seen only three of its submissions make it to the final Oscar nominations: “Mother India” (1957), “Salaam Bombay!” (1988) and “Lagaan” (2001). The country is still waiting for its first win in the international category, a lacuna that adds even more pressure to the annual selection process.

Rao said: “I am deeply honored and beyond delighted that our film ‘Laapataa Ladies’ has been chosen as India’s official entry to the Academy Awards. This recognition is a testament to the tireless work of my entire team, whose dedication and passion brought this story to life. Cinema has always been a powerful medium to connect hearts, transcend boundaries, and ignite meaningful conversations. I hope that this film will resonate with audiences across the world, just as it has in India.”

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