EDITORS DESK
As the calendar rolls toward the new year, a buzz of excitement fills the air among Filipino movie enthusiasts, all eagerly anticipating the nation’s entry in the prestigious Oscar Awards in 2026.
While the Academy will unveil its coveted winners in March of next year, the nomination process has already commenced for the Best International Film category, previously known as Best Foreign Film.
This category celebrates films that transcend geographical boundaries, offering a window into diverse cultures and narratives.
An international feature film is defined as a motion picture that runs longer than 40 minutes, is produced outside the United States, and features a dialogue track that is predominantly non-English, with over 50 percent of the dialogue spoken in non-English languages. This definition also encompasses captivating animated and thought-provoking documentary features.
To be eligible, films must have made their theatrical debut in their respective countries between Oct. 1, 2024, and Sept. 30, 2025. The deadline for submissions to the Academy will be on Oct. 1, 2025.
On Dec. 16, 2025, the 15 finalists will be unveiled, leading up to the high-stakes reveal of the final five nominees on Jan 22, 2026.
Reflecting on the Philippines' journey in this cinematic arena, it’s evident that the nation has faced challenges since it began submitting entries in the 1950s.
The Philippines has yet to receive an Oscar nomination despite its vibrant filmmaking history.
The film “Mga Munting Tinig,” which represented the Philippines in the Best Foreign Language Film category in 2002, made waves by achieving the highest ranking for any Filipino entry, securing a commendable seventh place. With only five films nominated each year, this accomplishment remains a point of pride.
Critics and cinephiles alike believe that the Philippines is a treasure trove of world-class talent. Yet, the daunting financial obstacles associated with mounting a successful campaign — money typically allocated for advertising in prominent US publications and organizing exclusive screenings for Academy voters — have hampered its chances. In previous years, voters even received DVDs of competing films, adding another layer to the competitive landscape.
Other nations, such as Israel and Portugal, share similar struggles. Israel has garnered 10 nominations but has yet to claim a win, while Portugal holds the record for the most submissions — 37 — without a nomination to its name.
The countries adorned with the most Oscar victories in the Best International Feature Film category include Italy, with a remarkable 14 wins, followed closely by France, which boasts 12, and Japan, with five accolades.
But the question lingers: do we truly need an Oscar trophy to validate our cinematic endeavors? An Oscar statuette, a gleaming emblem of achievement in filmmaking, could serve as a powerful catalyst, elevating Philippine cinema to new heights and broadening its global reach. Filipino director Benedict Mique envisions a future where he receives an Oscar nomination, expressing unwavering belief that it’s only a matter of time.
Among the potential Philippine entries for the 2026 Oscar Awards are promising titles such as “Green Bones,” “Food Delivery,” “Sunshine,” “Espantaho,” “Magellan,” and “Some Nights I Feel Like Walking.” We eagerly await the official announcement from the Film Academy of the Philippines, hopeful for the bright future of Filipino cinema.
The Philippines has a vibrant history of submitting films to the Oscars, a journey that has unfolded over several decades. The inaugural entry came in 1953 with “Genghis Khan,” marking the country’s bold step onto the global cinematic stage. Since then, a tapestry of remarkable films has represented the Philippines, each telling its own unique story.
Among these, “Heneral Luna” (2015) stands out as a passionate portrayal of a hero’s struggle, while “Transit” (2013) offers a poignant glimpse into the lives of Filipino immigrants. The classic “Ganito Kami Noon, Paano Kayo Ngayon?” (1976) weaves a vibrant narrative that reflects the cultural landscape of its time.
Additionally, “Inagaw Mo Ang Lahat Sa Akin” (1995) captivates audiences with its dramatic intensity, and “Dekada ’70” (2003) serves as a powerful commentary on political upheaval. Finally, “Anak” (2000) touches hearts with its emotional depth, exploring the complexities of family and sacrifice.
Each submission not only showcases the artistic talent of Filipino filmmakers but also highlights the diverse stories and rich heritage of the nation.
Like many Filipino movie fans, I dream of an Oscar for the Philippines.
(Robert R. Requintina is the Entertainment Editor of Manila Bulletin)
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