Malayalam film 2018: Everyone is a Hero, India's official entry in the international feature film category at the 2024 Academy Awards, is out of the Oscars race.
The Jude Anthany Joseph-directed film failed to make it to the shortlist of 15 films for the category, which was announced by the Academy of Motion Picture Arts and Sciences (AMPAS) on Friday.
Jonathan Glazer's historical drama The Zone of Interest (UK), Denmark's The Promised Land, starring Mads Mikkelsen, and Perfect Days from Japan are being billed as the frontrunners of the category.
The shortlist also includes Amerikatsi (Armenia), The Monk and the Gun (Bhutan), Fallen Leaves (Finland), The Taste of Things (France), The Teachers’ Lounge (Germany), Godland (Iceland), Io Capitano (Italy), Totem (Mexico), The Mother of All Lies (Morocco), Society of the Snow (Spain), Four Daughters, (Tunisia) and 20 Days in Mariupol (Ukraine).
Films from 88 countries were eligible in the category. The shortlisted movies will advance to the next round of voting.
2018, starring Tovino Thomas in the lead, was announced as India's official entry for the 96th Oscars in September this year. The movie narrates the story of the devastating Kerala floods in 2018.
According to the makers, the film has earned over £20 million crore at the box office to become the highest-grossing film in Malayalam cinema.
In a post on Instagram, Joseph said the opportunity to represent India on a global platform like the Oscars was nothing short of a dream.
"I sincerely apologise to all my well-wishers and supporters for disappointing you all. Nevertheless, the opportunity to represent India in this competition has been a dream-like journey that I will cherish for a lifetime.
"Being the highest-grossing film and the official Indian entry to the Oscars is a rare achievement in any filmmaker’s career. I am grateful to God for choosing me for this extraordinary journey," the filmmaker wrote.
The AMPAS also unveiled shortlists for nine other categories -- original song, original score, sound, documentary feature, documentary short, animated short film, live action short film, makeup and hairstyling, and visual effects.
At the 95th Academy Awards, RRR and The Elephant Whisperers, the two Indian films that won the best original song and best documentary short, were sent to the Oscars directly by the makers, but India's official entry in the international film category, Gujarati film Chhello Show (Last Film Show), couldn't make it to the final five nominations.
The last Indian film that made it to the final five was the Aamir Khan-led Lagaan in 2001.
The 96th Academy Awards are scheduled to take place on March 10, 2024, in Los Angeles.
Forum brings UK and Chinese film professionals together to explore collaborations.
Emerging British-Asian talent gain mentorship and international exposure.
Small-scale dramas, kids’ shows, and adapting popular formats were the projects everyone was talking about.
Telling stories that feel real to their culture, yet can connect with anyone, is what makes them work worldwide.
Meeting three times a year keeps the UK and China talking, creating opportunities that last beyond one event.
The theatre was packed for the Third Shanghai–London Screen Industry Forum. Between panels and workshops, filmmakers, producers and executives discussed ideas and business cards and it felt more than just a summit. British-Asian filmmakers were meeting and greeting the Chinese industry in an attempt to explore genuine possibilities of working in China’s film market.
UK China film collaborations take off as Third Shanghai London Forum connects British Asian filmmakers with Chinese studios Instagram/ukchinafilm
What makes the forum important for British-Asian filmmakers?
For filmmakers whose films explore identity and belonging, this is a chance to show their work on an international stage, meet Chinese directors, talk co-productions and break cultural walls that normally feel unscalable. “It’s invaluable,” Abid Khan said after a panel, “because you can’t create globally if you don’t talk globally.”
And it’s not just established names. Young filmmakers were all around, pitching ideas and learning on the go. The forum gave them a chance to get noticed with mentoring, workshops, and live pitch sessions.
Which projects are catching international attention?
Micro-dramas are trending. Roy Lu of Linmon International says vertical content for apps is “where it’s at.” They’ve done US, Canada, Australia and next stop, Europe. YouTube is back in focus too, thanks to Rosemary Reed of POW TV Studios. Short attention spans and three-minute hits, she’s ready.
Children’s and sports shows are another hotspot. Jiella Esmat of 8Lions is developing Touch Grass, a football-themed children’s show. The logic is simple: sports and kids content unite families, like global glue.
Then there’s format adaptation. Lu also talked about Nothing But 30, a Chinese series with 7 billion streams. The plan is for an english version in London. Not a straight translation, but a cultural transformation. “‘30’ in London isn’t just words,” Lu says. “It’s a new story.”
Jason Zhang of Stellar Pictures says international audiences respond when culture isn’t just a background prop. Lanterns, flowers, rituals, they’re part of the plot. Cedric Behrel from Trinity CineAsia adds: you need context. Western audiences don’t know Journey to the West, so co-production helps them understand without diluting the story.
Economic sense matters too. Roy Lu stresses: pick your market, make it financially viable. Esmat likens ideal co-productions to a marriage: “Multicultural teams naturally think about what works globally and what doesn’t.”
The UK-China Film Collab’s Future Talent Programme is taking on eight students or recent grads this year. They’re getting the backstage access to international filmmaking that few ever see, including mentorship, festival organising and hands-on experience. Alumni are landing real jobs: accredited festival journalists, Beijing producers, curators at The National Gallery.
Adrian Wootton OBE reminded everyone: “We exist through partnerships, networks, and collaboration.” Yin Xin from Shanghai Media Group noted that tri-annual gathering: London, Shanghai, Hong Kong create an “intensive concentration” of ideas.
Actor-director Zhang Luyi said it best: cultural exchange isn’t telling your story to someone, it’s creating stories together.
The Shanghai-London Screen Industry Forum is no longer just a talking shop. It’s a launchpad, a bridge. And for British-Asian filmmakers and emerging talent, it’s a chance to turn ideas into reality.
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