As a film reviewer and obsessive follower of the Academy’s international feature category, I’m willing to bet that several films from Middle Eastern countries will make the shortlist. In fact, I even posit that one will triumph on Oscar night.
Although only 10 Middle Eastern countries are fielding titles this year, the region is yielding its most competitive lineup in years. The submissions include work from acclaimed filmmakers such as former nominee Tunisia’s Kaouther Ben Hania, former short-listed helmer Morocco’s Maryam Touzani, and Cannes Golden Camera winner Iraq’s Hasan Hadi. These high-profile selections represent the region at prestigious festivals including Sundance, Cannes, Venice, Toronto, and Tribeca.
Interestingly, the trend of Middle Eastern stories being submitted by countries outside the region continues. Last year, Germany secured a nomination for “The Seed of the Sacred Fig,” directed by Iran-born Mohammad Rasoulof. This year, France, still yearning for its first international winner since “Indochine” in 1992, is championing “It Was Just an Accident” by dissident Iranian director Jafar Panahi. The film, which won the Palme d’Or at Cannes and was acquired by savvy distributor Neon, enjoyed a strong box office showing following its early October release.
Two other Iran-born directors represent countries outside their homeland this year: Alireza Khatami with Canada’s entry, the Turkish-language psychological drama “The Things You Kill,” and Shahram Mokri with Tajikistan’s enigmatic “Black Rabbit, White Rabbit.” Given this surprising proliferation of Iranian directors in the race, it’s ironic that Iran’s own submission, “Cause of Death: Unknown,” directed by Ali Zarnegar, lacks awards buzz. Scheduled for a 2026 release by Cohen Media Group, the debut feature follows a charismatic Egyptian superstar coerced by the government into playing President El-Sisi in a propaganda film, only to become entangled in dangerous conspiracies.
Despite any “alumni effect,” Tunisia’s Kaouther Ben Hania remains a strong contender with the timely docudrama “The Voice of Hind Rajab.” Previously nominated for an international feature for “The Man Who Sold His Skin” (2020) and for a documentary with “Four Daughters” (2023), Ben Hania’s latest film uses the real voice of a panic-stricken Palestinian child trapped under fire as she calls the Palestinian Red Crescent pleading for rescue. Actors portray the increasingly hysterical workers handling her call. The film premiered at Venice and Toronto festivals to critical acclaim.
Morocco’s Maryam Touzani, shortlisted last year with “The Blue Caftan,” returns with another formidable entry, “Calle Malaga.” This sweet dramedy won the Audience Award in Venice Film Festival’s Spotlight section and promises to challenge societal views on aging, agency, and sexuality. Slated for a 2026 release by Strand Releasing, the story centers on María Ángeles, an 80-year-old resident of Tangier’s titular street, whose rich and complex bond with her seaside hometown reflects her dual identity as Spanish yet somehow Moroccan.
Another audience-pleasing contender is Iraq’s “The President’s Cake.” One of the hits at this year’s Cannes Film Festival, director Hasan Hadi’s poignant debut follows an impoverished girl living with her grandmother in the Mesopotamian marshes during Saddam Hussein’s regime. When tasked with baking the dictator’s birthday cake for her school celebration, the assignment becomes a near-impossible burden for both granddaughter and granny. The film won the Cannes Directors’ Fortnight’s People’s Choice Award as well as the juried best first feature award. It is being distributed by Sony Pictures Classics.
Egypt also submitted an accomplished and likeable debut feature that shines a light on class disparities in contemporary Cairo. Sarah Goher’s “Happy Birthday” tells the story of a resourceful 8-year-old maid whose close friendship with the daughter of the household she serves is discouraged by the employers. The film won best international narrative feature, best screenplay, and best director at its Tribeca premiere. Though it currently lacks an American distributor, it is poised to find one soon, especially given Goher’s prior work as a writer-producer on Marvel’s “Moon Knight.”
Political dynamics may influence this year’s international feature race as well. Last year’s Palestinian entry, “From Ground Zero,” earned a shortlist spot amid a groundswell of support for Palestine and a younger, more international Academy cohort. This momentum might benefit two Palestinian period films from respected female writer-directors, both sharing cast members and thematic concerns.
Annemarie Jacir’s “Palestine 36” is the official Palestinian entry. Her fourth feature and fourth submission for the country, the sweeping epic is set in 1936 and explores mounting unrest as Jewish immigrants escape European antisemitism and settle in the region, while Palestinians unite in the largest and longest uprising against British colonial rule. Watermelon Films will release the film in the U.S.
In contrast, Jordan’s entry, “All That’s Left of You,” from Palestinian-American actor-writer-director Cherien Dabis, presents similar issues through the intimate lens of a single family over three generations. Dabis stars as a mother who reflects on her son’s fate through the tribulations of his grandfather. This film is also a Watermelon Films release, with Javier Bardem and Mark Ruffalo signed on as executive producers.
Meanwhile, Israel’s cinema faces less favorable political currents. This year’s Israeli submission, “The Sea,” is a Palestinian story written and directed by Jewish Israeli Shai Carmeli-Pollak, produced by a Palestinian, and created with a mixed crew. Distributed by Menemsha Films in the U.S., the film follows a 12-year-old boy from a Palestinian village determined to see the sea for the first time, despite being denied passage at an Israeli checkpoint.
Saudi Arabia, since 2013, has made eight international feature submissions, including two from each of female directors Haifaa al-Mansour and Shahad Ameen. Both Ameen’s current film “Hijra” and her mermaid fable “Scales” contain strong feminist themes and striking visuals. “Hijra,” which depicts a grandmother and granddaughter’s pilgrimage to Mecca turning into a transformative road trip, premiered at Venice and confirms Ameen as a talent to watch.
Also premiering at Venice is Lebanon’s submission, “A Sad Beautiful World,” the narrative feature debut of Cyril Aris. This rom-com, unfolding against three decades of Lebanese tragedies, offers a refreshing break from the traditionally serious dramas favored in this category, leaving audiences eager for Aris’ future work.
With such a rich and diverse slate of films, the Middle Eastern presence in this year’s international feature Oscar race is stronger than ever. From gripping political dramas to intimate family stories and fresh, genre-bending narratives, these films not only reflect the complexities of their societies but also showcase the region’s vibrant cinema on the world stage.
https://variety.com/2025/awards/news/middle-eastern-films-international-oscar-race-1236570130/