Beyond RRR and Chhello Show, four great Indian movies that could’ve been stronger Oscar contenders

Although fans of RRR would understandably disagree, Chhello Show wasn’t a particularly bad pick for the Best International Feature category. In fact, there’s proof to support this argument; did you know that it’s the only Indian movie to progress to the shortlist stage of voting since the Academy began announcing these shortlists in 2006? Chhello Show had a real shot at securing a nod. There was a sound strategy at play here; had things gone as planned, India would’ve had three feature films in contention in three different categories. Not to mention The Elephant Whisperers, which is competing in the Best Documentary Short category.

There’s no way of knowing if the Film Federation of India shot itself in the foot by not selecting RRR. But what we do know is that members of the Academy respond to certain ingredients in their foreign language films, once enough money has been spent on attracting their attention, of course. On paper, RRR and Chhello Show had all the components — they were culturally specific, yet thematically accessible — but here are four other options that might have had a shot at Oscars success, provided, of course, that they’d been bestowed with all the bells and whistles of an Academy Awards campaign.

Gargi

Sai Pallavi in a still from Gargi.

A far more accomplished piece of filmmaking than 2022’s other major legal drama, the more masala Jana Gana Mana, Gargi is a delicately textured movie that goes so unbelievably hard in its final moments that you will be left reeling in your seats. Utterly unflinching, the film presents a dense narrative brimming with female rage, and features a towering central performance by Sai Pallavi.

Jhund

Amitabh Bachchan’s Jhund is streaming on ZEE5.

Combining elements of the last three ‘Indian’ films to make noise at the Oscars — Lagaan, Salaam Bombay! and Slumdog Millionaire — Nagraj Manjule’s Jhund is an unmistakably Indian movie in both its setting and sensibilities. It’s the ultimate underdog story, it’s a movie about representation, and in its own way, it’s a tribute to the history of Hindi cinema. Jhund would have been a terrific pick for the Oscars, and who wouldn’t have loved to see an awards campaign with the globally admired Amitabh Bachchan as its face.

Pada

A still from Pada.

Perhaps the biggest reason why the Malayalam language film industry — or, at least, the non-mainstream kind — is easily the most creatively liberated film industry in the country is because of the controlled budgets. This allows talented filmmakers to explore new ideas and themes without the pressure of generating revenues, or catering to the masses. In fact, Malayalam movie stars are more willing than most to experiment, which in turn allows for more provocative moviemaking, and fuels an evolution of film culture. Pada is the pinnacle of contemporary Indian filmmaking; thrillingly crafted, and genuinely passionate about its core themes. It’s our very own contribution to the new wave of eat-the-rich cinema that has been dominating discourse in recent months.

Dhuin

A still from Dhuin.

Achal Mishra’s Maithili-language drama would barely qualify as a feature — it’s only 50 minutes long — but with its hypnotic silences and static camerawork, it evokes more feeling than a zoo-full of animals being unleashed upon colonialists. Capturing the the angst and disappointment that the majority of our country is collectively experiencing, Dhuin is a poetic little film about loneliness, alienation, and the power of art. And like last year’s best Indian film, The Disciple, it is an important example of just how ambitious and stylistically bold some of India’s young filmmakers are.