The race for an Oscar slot is always chaotic, no matter the year. The win for I’m Still Here, by Walter Salles, in 2025 made a lot of noise on social media and in Hollywood. Now that each country has locked in its official submission, the hype around the category is even bigger, especially after what went down at Cannes and Venice.
Those festivals really do set the tone. They’re one of the major Oscar thermometers, since a lot of titles that shine at Cannes end up repeating the success later. But Cannes loves bold, artsy films — the kind that don’t always match the taste of the Academy, which still leans pretty “Hollywood traditional” when choosing nominees.
That’s where Venice comes in: a festival that manages to hit a sweet spot between prestige cinema and mainstream appeal. It basically became the official launchpad for the International Oscar race.
Among the films getting the most buzz in this season, five stood out. Some for their technical or stylistic punch, others for the emotional weight that’s winning over both critics and audiences.
It Was Just an Accident — Jafar Panahi (France)
France’s pick – which is “French” pretty much only in production – is an anxiety-filled revenge thriller where a hit-and-run spirals into guilt, anger and a pile of secrets. The movie plays with that whole butterfly-effect idea: one tiny action rewiring a bunch of lives. Critics loved how Jafar Panahi turns something ordinary into full-on psychological suspense.
The script has depth, it hits the season with momentum, and to top it off, it won the Palme d’Or – which obviously boosts its Oscar buzz even more.
The Secret Agent, Kleber Mendonça Filho (Brazil)
Kleber Mendonça’s O Agente Secreto has been getting attention for its political, current and universal theme, and its powerhouse performances by Wagner Moura, Maria Fernanda Cândido, Gabriel Leone, and others from the cast.
It’s a historical thriller set in the 70s, following Marcelo, who comes back to Brazil hoping for a normal life and, instead, gets thrown into a messy mix of espionage, politics and paranoia. The moody cinematography puts you right inside his tension.
Its political edge, strong visuals and Kleber’s signature voice led to a big moment at Cannes: Wagner Moura won Best Actor, and Kleber Mendonça Filho walked away with Best Director.
No Other Choice, Park Chan-wook (South Korea)
Park Chan-wook, globally iconic at this point from Oldboy, brings his signature blend of violence, boldness and dark humor.
The movie takes aim at Korean society through totally absurd situations, with that acidic humor that only Park can pull off. The direction and editing stand out, and the script is full of twists.
Even though it was a major favorite in Venice, it left with zero wins the same story in Cannes. Now the question is: will the Oscars break the streak or go the same route?
Sentimental Value, Joachim Trier (Norway)
Unlike the others, Joachim Trier goes full emotional here. The film follows a family navigating aging, memory and legacy. By digging into the “price of art,” Trier brings that very European way of talking about pain beautifully. The tone is melancholic but sprinkled with dry humor.
The emotional work, paired with Renate Reinsve’s standout performance, is exactly the kind of thing the Academy loves. One of the top contenders of the season, the film won the Grand Prix at Cannes 2025, the festival’s second most important award, and got a 19-minute standing ovation.
Sirat, Óliver Laxe (Spain)
Sirat is one of those films people describe as “art for art’s sake” in the best way.
It’s immersive, visually striking and deeply author-driven. The story centers on a missing girl and how her disappearance reshapes everyone around her. Critics praised the film’s visual and sound power, plus its use of non-actors – regular people who bring raw, natural emotion to the screen.
Sensory, identity-strong films like this often catch the Academy’s eye. Even though it’s not one of the media’s top picks, it won the Jury Prize at Cannes 2025 and has been getting a lot of love from audiences.
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The article above was edited by Eduarda Mahrouk
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