Today, Explained: The Messiest Oscars Category

Episode Release Date: February 28, 2025
Hosts: Sean Rameswaram and Noel King
Podcast Network: Vox Media Podcast Network

Introduction

In this episode of Today, Explained, hosts Sean Rameswaram and Noel King delve into the complexities surrounding the Oscars' International Film category. The spotlight falls on Germany's unexpected submission, "Seed of the Sacred Fig", a poignant Iranian drama filmed in secret within Iran's repressive landscape. This nomination has stirred discussions about the inherent challenges and controversies of the International Film category at the Oscars.

Spotlight on "Seed of the Sacred Fig"

"Seed of the Sacred Fig" stands out as Germany's submission to the Oscars' International Film category. The film is a deep exploration of an Iranian family's turmoil amid the country's stringent political climate. Directed by Mohammad Rasoulof, an Iranian director living in exile, the movie offers a rare glimpse into the suppressed voices within Iran's cinematic landscape.

Interview with Mohammad Rasoulof

Rasoulof provides an insightful account of the arduous process behind the film's creation. Filming covertly in Tehran presented numerous challenges, from limited equipment to the constant threat of censorship and repression.

• Censorship and Secrecy: Rasoulof explains,
  “The Islamic Republic is a despotic and repressive regime and it has implemented widespread censorship on all parts of the society. It does not allow any voices that are critical of it to be heard. Voices like myself who make critical movies. And so this is why the film had to be made in secret” ([00:00]).

• Filming Under Surveillance: Addressing the misconception that secret filming primarily involves interior shots, Rasoulof reveals,
  “...there are indeed shots of this family eating dinner outside of a restaurant... How do you do that secretly?... The underground cinema in Iran tries not to be seen and tries to have films that are not impacted in their quality by the fact that they are underground” ([03:55]).

Directing Remotely from Prison

Rasoulof's role as director was uniquely challenging as he was incarcerated during the film's production. He coordinated the filmmaking process remotely, relying on monitors and assistants to communicate his vision to the crew and actors.

• Remote Direction:
  “I was constantly watching a monitor when I was afar... I was communicating through sound. Everything that was happening I could hear and I could tell them what to do through sound” ([07:11]).

• Emotional Struggles: The director candidly shares the emotional toll of working under such pressure, with the constant fear of repercussions:
  “I was under a lot of pressure. I was really stressed out, and at any moment anything could have happened” ([07:11]).

Germany's Submission: A Strategic Move

Despite its deep Iranian roots, "Seed of the Sacred Fig" is Germany's submission to the Oscars. Rasoulof elucidates the reasons behind this decision, highlighting the intertwined fates of the filmmaker and his country of exile.

• Exile and Support: Rasoulof recounts his escape from Iran and subsequent relocation to Germany, where his family resided.
  “After I got to a neighboring country, I contacted the German consulate... my post-production all happened in Germany” ([08:42]).

• Symbolic Significance: By nominating the film, Germany sends a powerful message of support to filmmakers under oppressive regimes:
  “People who chose to nominate this film on behalf of Germany to the Oscars gave a very strong message to the other filmmakers outside. And that is that there is always going to be hope for filmmakers who are working under a lot of pressure” ([08:42]).

Critique of the Oscars' International Film Category

Transitioning from Rasoulof's story, the episode addresses the broader issues plaguing the Oscars' International Film category, featuring insights from Nate Jones of Vulture.

Key Issues Highlighted by Nate Jones

1. One Film Per Country Rule:

   • The Oscars require each country to submit only one film, limiting the representation of countries with multiple outstanding films.
   • Quote:
     “Every country in the world submits one film... if there's two great films from Switzerland in one year, doesn't matter, only one” ([14:56]).

2. Selection Bias and Governance:

   • The selection process often involves non-Academy members, including government officials, leading to potential biases, especially against films critical of their home governments.
   • Quote:
     “The people deciding who submits these films... are often government ministers from overseas governments” ([14:56]).

3. Cultural and Production Complexities:

   • Modern cinema often blurs international lines, making it problematic to associate a film strictly with one country.
   • Quote:
     “The modern world of cinema is so blurred in terms of international boundaries that... pin-pointing a specific film and saying this specific film belongs to this specific country doesn't always make sense” ([17:34]).

4. Impact on Critical Films:

   • Films that are critically acclaimed but politically sensitive may struggle to gain recognition due to their submission country's restrictions.
   • Example:
     The controversy around France not selecting "Anatomy of a Fall" despite its critical acclaim, possibly due to political statements made by the director ([16:44]).

Debate on the Category's Necessity

The discussion extends to whether the International Film category remains relevant or needs reform:

• Arguments for Reform:

  • Adjusting the selection process to empower Academy members rather than country-appointed officials.
  • Proposed Solution:
    “Why not put those people [Academy committee experts] in charge of also determining what the best film from each country would be?” ([24:16]).

• Arguments for Maintaining the Category:

  • Preserving the category provides a dedicated space to honor non-English language films and offers a window into global cinema.
  • Quote:
    “I think having this category still lets a film like Seed of the Sacred Fig... this is a place to celebrate that film” ([25:48]).

• Alternative Suggestions:

  • Some propose merging international films into broader categories or eliminating the category altogether, though this remains a contentious point.

Historical Context and Ongoing Debates

The episode touches upon the historical controversies and ongoing debates related to the International Film category:

• Past Eligibility Rules:

  • Films previously needed to be in the submitting country's language, a rule abolished in the late 2000s due to its restrictive nature.

• Cultural Insensitivity Concerns:

  • Critics argue that the one-country-one-film rule can marginalize exceptional films from countries with robust film industries.

• Oscar Voting Reforms:

  • Recent expansions of the Academy's membership have led to increased international influence, blurring the lines between domestic and international categories.

Conclusion: The Future of International Recognition at the Oscars

As the episode wraps up, the hosts and contributors reflect on the evolving landscape of international cinema within the Oscars framework. The nomination of "Seed of the Sacred Fig" under Germany's banner not only highlights the film's artistic merit but also underscores the systemic challenges within the International Film category. The ongoing discourse suggests a need for thoughtful reforms to better accommodate the dynamic and interconnected nature of global filmmaking.

Final Remarks from Hosts:

• Acknowledgement of the nominees and winners, emphasizing the global nature of the Oscars.
• Encouragement for listeners to engage with and support international cinema.

Notable Quotes with Timestamps

• Mohammad Rasoulof on Censorship:
  “The Islamic Republic is a despotic and repressive regime and it has implemented widespread censorship...” ([00:00]).

• Rasoulof on Filming Exteriors Secretly:
  “We learned how to be seen and how to have the exterior shots... The underground cinema in Iran tries not to be seen...” ([03:55]).

• Rasoulof on Directing Remotely:
  “I was communicating through sound... we ended up having a very good and close collaboration” ([07:11]).

• Nate Jones on Selection Bias:
  “The people deciding who submits these films... are often government ministers from overseas governments” ([14:56]).

• Nate Jones on Cultural Blurring:
  “The modern world of cinema is so blurred in terms of international boundaries...” ([17:34]).

• Nate Jones on Category's Importance:
  “I think having this category still lets a film like Seed of the Sacred Fig... this is a place to celebrate that film” ([25:48]).

This episode of Today, Explained provides a comprehensive examination of the hurdles and intricacies within the Oscars' International Film category, using "Seed of the Sacred Fig" as a case study to illuminate broader systemic issues. Through in-depth interviews and critical analysis, listeners gain a nuanced understanding of the interplay between global politics, artistic expression, and award adjudication.