[Editor’s note: this story was originally published in January 2024. We updated and recirculated it in advance of the 96th Academy Awards on March 10.]
The Oscars are a cruel, selective beast. With only 10 movies recognized in the Best Picture race, and five entries in every other category, it’s an unfortunate reality that many high quality, deserving films each year will end up with nothing on nomination day.
The 2024 Oscar class is no different, with plenty of cries of snubbery coming out after their January 23 announcement. Most of the discussion has been taken up by the shocking blanks for Margot Robbie and Greta Gerwig, who missed out on Best Actress and Best Director respectively for their work on “Barbie,” the indisputable film juggernaut of the year. Other major surprises included Charles Melton missing out for his breakout turn in “May December,” and Leonardo DiCaprio getting left out of the Best Actor race for “Killers of the Flower Moon.” Other surprises proved of the more pleasant sort, with on-the-bubble contenders making it in like Robbie’s “Barbie” costar America Ferrera or Sterling K. Brown in “American Fiction.”
Sure, the “Barbie,” “Killers of the Flower Moon,” and “May December” hives all have at least a little reason to feel disappointed in how the Oscars turned out for their favorite films of the year. But all three movies at least managed one nomination: “Barbie” and “Killers of the Flower Moon” both made the Best Picture lineup, while “May December” barely made it in by notching a nod in the Original Screenplay race for its acclaimed script from writer Samy Burch.
In the weeks since the nominations were announced, there’s been some backlash to the backlash of the “Barbie” snubs, with critics arguing that the film was well-represented at the Oscars. As IndieWire’s Samantha Bergeson pointed out, Gerwig’s hot pink summer blockbuster managed the impressive feat of eight Oscar nominations — including Adapted Screenplay, Supporting Actor for Ryan Gosling, and many craft nods — making it the fourth most recognized film this year. “While Robbie and Gerwig (along with a slew of other actors and directors) deserve to be recognized for their “Barbie” filmmaking feat, it doesn’t mean the Academy has to do anything. There were a lot of great movies last year,” she wrote.
And a lot of those other great films weren’t as lucky to get so much as a tertiary nod. Several well-reviewed, positively received movies from major auteurs came out of January 23 without a single nomination to their name, including Wes Anderson’s “Asteroid City,” Sofia Coppola’s “Priscilla,” Michael Mann’s “Ferrari,” and Ava DuVernay’s “Origin.” Films that were seen as competitors in the Oscar races ended up short of recognition this year: “All of Us Strangers,” Andrew Haigh’s queer reimagining of Taichi Yamada’s ghostly novel “Strangers,” was floated as a potential nominee in the Adapted Screenplay and Best Actor races, but ultimately failed to crack the top five of either.
“Origin,” an ambitious adaptation of Isabel Wilkerson’s nonfiction novel “Caste,” proved an especially frustrating snub. As IndieWire Awards Editor Marcus Jones writes, “There are still glaring blindspots when it comes to how Black directors are recognized by the Academy. ‘American Fiction’ filmmaker Cord Jefferson received nominations for Best Picture and Best Adapted Screenplay, but will not have a shot at becoming the first Black Best Director winner. That specific detail highlights why there is frustration around a film like Ava DuVernay’s ‘Origin’ going under Oscar voters’ radars, as a Black female filmmaker has never been nominated for Best Director.”
Moving beyond the big names that in another year may have broken through as Oscar frontrunners, there are also plenty of great films released in 2024 that may not be obvious Best Picture nominees, but could have been worthy competitors both in above or below the line categories. Plenty of excellent international features like “Fallen Leaves,” “Godland,” and “Tótem” made it onto the Oscars shortlist before ultimately falling short, while movies like “Suzume” or “Teenage Mutant Ninja Turtles: Mutant Mayhem” could have been great selections for the Best Animated Feature lineup. And then there are performances, screenplays, and craft achievements in a variety of overlooked films that all deserved some time in the sun.
The thing all of these films have in common is that they’re in great company. History is riddled with all-time classics that, for whatever reason, didn’t get the attention and Oscar acclaim they deserved in their day. From “Modern Times” in 1936 to “Uncut Gems” in 2019, there have always been masterpieces that the Academy have failed to give their due (other examples: “The Shining,” “The Thing,” “Heat,” “Once Upon a Time in the West,” “Zodiac,” “The Big Lebowski,” “Before Sunrise,” “The Long Goodbye,” and “In the Mood for Love.”) Just because a movie doesn’t make it big at the Oscars doesn’t mean it gets forgotten: sometimes, it can mean the opposite.
As is annual tradition, IndieWire is taking stock of the Oscar nominations this year, and giving some recognition to the unfortunate films that didn’t get their due. Documentaries like “Kokomo City” or “Our Body” and international features like “The Delinquents” and “About Dry Grasses” that didn’t make the shortlists are excluded from the list, despite all being very worthy. Entries are compiled from IndieWire’s previous predictions for nominations, as well as our personal favorites, and are sorted in alphabetical order. Read on for our list of 25 great films that failed to make the Oscar nominations this year.
With editorial contributions by Alison Foreman.
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“32 Sounds” (dir. Sam Green)
Image Credit: Courtesy Everett Collection What it is: Sam Green’s experimental documentary “32 Sounds” is an immersive experience that explores sound as an elemental phenomenon. To translate the experience, the film was released in several formats, including a live version, a theatrical version with 7.1 surround sound mix, and a version specific for home viewing.
What it could have won: “32 Sounds” made the Oscars Documentary shortlist, but evidentaly its ambition didn’t resonate with everyone, because it didn’t make the final nominations in the category. More gallingly, the movie was blanked on Best Sound, not even reaching the shortlist, leaving its experimental and gorgeous design from Mark Mangini in the cold. —WC
Read IndieWire’s complete review of “32 Sounds.”
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“Air” (dir. Ben Affleck)
Image Credit: ©Amazon/Courtesy Everett Collection What it is: Ben Affleck’s crowd-pleasing sports biopic “Air” focuses on the creation of the iconic Michael Jordan-branded Air Jordan Nike sneakers, from the perspective of the executive Sonny Vaccaro (Matt Damon) who pitched the concept. A great ensemble cast — including Affleck, Jason Bateman, Marlon Waynes, Chris Messina and Chris Tucker — also star.
What it could have won: As Michael Jordan’s business-minded and strict mother Deloris, Viola Davis is a standout in a solid film, providing the right friction and energy to give the otherwise breezy watch some weight. Initially seen as a possible Best Supporting Actress contender, Davis unfortunately never found momentum in the race. —WC
Read IndieWire’s complete review of “Air.”
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“All Dirt Roads Taste of Salt” (dir. Raven Jackson)
Image Credit: Courtesy Everett Collection What it is: Raven Jackson’s generational drama “All Dirt Roads Taste of Salt” focuses on the heartbreaks and joys of Mack, a Black woman living in small-town Mississippi.
What it could have won: Like far too many great Sundance films, “All Dirt Roads Taste of Salt” never got enough buzz to become a serious contender in the Oscars race. In a just world though, Raven Jackson’s gorgeous direction and Jomo Fray’s sun-drenched, Terrence Malick-esque cinematography would have been major contenders at the Oscars. —WC
Read IndieWire’s complete review of “All Dirt Roads Taste of Salt.”
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“All of Us Strangers” (dir. Andrew Haigh)
Image Credit: Searchlight Pictures What it is: Andrew Haigh’s queer film is a reimagining of Japanese novelist Taichi Yamada’s ghost story “Strangers,” about a man who suddenly begins seeing his parents at the age they died when he was a child. In Haigh’s version, the main character Adam (Andrew Scott) is a gay man in a romance with the younger Harry (Paul Mescal) who uses the opportunity of meeting his parents as an adult to finally come out to them.
What it could have won: “All of Us Strangers” fell victim to being the sixth or seventh choice in every race it was competing in. Andrew Scott’s soul-searing lead performance never quite managed to break through in the Best Actor category, while the film’s presumed trip to a Best Adapted Screenplay nomination for Haigh’s sensitive script ended when “Barbie” got moved to the category. Other deserving cast and crew members — like Jamie Bell, an acting standout as Adam’s distant but loving father, or cinematographer Jamie D. Ramsey, who gives the film an ethereal, dreamy look — never got the attention in the Supporting Actor or Cinematography fields that they deserved.
Read IndieWire’s complete review of “All of Us Strangers.”
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“Are You There God? It’s Me, Margaret” (dir. Kelly Fremon Craig)
Image Credit: Dana Hawley/Lionsgate What it is: Kelly Fremon Craig’s loving adaptation of Judy Blume’s iconic young adult novel, “Are You There God? It’s Me, Margaret” stars Abby Ryder Fortson as a precocious 11-year-old going through a religious crisis in the suburbs during the 1970 school year.
What it could have won: Rachel McAdams shines in “Are You There God? It’s Me Margaret” as the title character’s caring, artistic, frustrated mother. Despite some initial support from critics associations, however, her brilliant performance was overlooked in the Supporting Actress race. In addition, Craig’s faithful, witty adaptation of the original book could have played as a delightful, left-field choice in the Best Adapted Screenplay category. —WC
Read IndieWire’s complete review of “Are You There God? It’s Me, Margaret.”
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“Asteroid City” (dir. Wes Anderson)
Image Credit: ©Focus Features/Courtesy Everett Collection What it is: Wes Anderson’s latest film uses the framework of a teleplay presentation as the window into a delightful, quirky story of a small ’50s town hosting a junior scientist competition that gets hijacked when an alien lands in the desert.
What it could have won: Although Anderson managed to get a nomination this year for his short film “The Wonderful Story of Henry Sugar,” “Asteroid City” was foiled by its early-in-the-year release and never got the push needed to compete for Oscars. That’s a shame, because the thoughtful, funny film is one of Anderson’s best, and it’s easy to imagine a world where it gets more hype and becomes a major player at the awards, with a Best Picture nod and a raft of other nominations, including Director and Original Screenplay for Anderson, Cinematography for Robert Yeoman, and major crafts awards like Production Design, Costume Design, and Makeup and Hairstyling. —WC
Read IndieWire’s complete review of “Asteroid City.”
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“Beau Is Afraid” (dir. Ari Aster)
Image Credit: Courtesy Everett Collection What it is: The epic third feature film from “Hereditary” and “Midsommar” writer/director Ari Asters stars Joaquin Phoenix as the titular Beau: an anxiety-ridden mamma’s boy who finds himself traversing a serpentine dreamscape in a dogged attempt to reach home.
What it could have won: Horror movies never fare particularly well with Academy voters, and although “Beau Is Afraid” encompasses more than just that one genre, Aster’s sprawling hero’s journey — featuring a grim Mariah Carey sex accident and gigantic, engorged testicle monster — was probably not going to earn him his Oscar. Still, the immersive portrait of self-poisoning neuroses could have competed for Best Original Screenplay, Best Director, and Best Picture. —AF
Read IndieWire’s complete review of “Beau is Afraid.”
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“BlackBerry” (dir. Matt Johnson)
Image Credit: Courtesy of IFC Films. An IFC Fi What it is: Matt Johnson’s “BlackBerry” is a bitterly funny, cynical look at the rise and fall of the titular mobile phone company, through the eyes of cofounder Mike Lazaridis (Jay Baruchel) and investor Jim Balsille (Glenn Howerton).
What it could have won: The supporting acting categories are slightly more likely to recognize a great comedic performance than the leads, and Howerton would have made a delightful entry into the Supporting Actor race. He’s outsized, blustery, and furious as the blowhard Balsille, while still finding unique shades to a man who could be a total cartoon character. Sadly, Oscars buzz never quite caught on for Howerton, who’s unfortunately used to getting snubbed: his acclaimed TV series “It’s Always Sunny in Philadelphia” famously has zero Emmy nominations to its name.
Read IndieWire’s complete review of “BlackBerry.”
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“Bottoms” (dir. Emma Seligman)
Image Credit: ©United Artists/Courtesy Everett Collection What it is: Emma Seligman’s sophomore effort reteams her with “Shiva Baby” star Rachel Sennott and adds a pitch-perfect Ayo Edebiri to the equation to create one of the funnier comedies in recent memories. The joke-a-second “Bottoms” invites the audience to a demented parody world of high school films, where Sennott and Edebiri’s ugly, untalented gays attempt to scam their ways into their crushes pants by starting an all-female fight club.
What it could have won: Admittedly, “Bottoms” was never a movie that particularly seemed like it was aiming for Oscar glory. Still, a world where the film’s whip-smart, snarky, and hilarious script makes it into the Adapted Screenplay category is a more interesting, fun world than the one we’re currently in. —WC
Read IndieWire’s complete review of “Bottoms.”
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“Dream Scenario” (dir. Kristoffer Borgli)
Image Credit: Courtesy Everett Collection What it is: In writer/director Kristoffer Borgli’s clever exploration of the collective unconscious and self-identity in the digital age, Nicolas Cage stars as Paul: an unassuming college professor who suddenly begins to appear in the increasingly incriminating dreams of strangers from around the globe.
What it could have won: With producer Ari Aster’s influence readily apparent from the film’s first fantasy sequence, “Dream Scenario” is an ethereal feat of imagination that unfortunately fumbles the final acts of its visionary concept too badly to justify a Best Original Screenplay nomination. That said, it would have been a predictable but excellent choice for Best Visual Effects (the blood demon nightmare is a triumph!), and Cage, who hasn’t been nominated in more than two decades, would have been a decent dark horse pick for Best Actor. —AF
Read IndieWire’s complete review of “Dream Scenario.”
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“Fallen Leaves” (dir. Aki Karismäki)
Image Credit: Courtesy MUBI What it is: Aki Karismäki’s droll romance “Fallen Leaves” stars Alma Pöysti and Jussi Vatanen as two working-class Finnish people who connect over movies and attempt to develop a relationship against the backdrop of social collapse and their own personal hang-ups.
What it could have won: “Fallen Leaves” made the Best International Feature shortlist as the official submission from Finland, but unfortunately the Oscars chose to leave this bittersweet and lovely romance out of the final five nominees. In addition, despite a delightfully surprising Golden Globe nomination, Pöysti’s quiet, dry, and subtly moving performance as a woman attempting to find her own happiness never managed to get any Oscar attention. —WC
Read Indiewire’s complete review of “Fallen Leaves.”
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“Ferrari” (dir. Michael Mann)
Image Credit: Courtesy Everett Collection What it is: Michael Mann’s “Ferarri” is, as the title suggests, a biopic of Enzo Ferrari, focusing on the automobile manufacturer’s professional life and marital struggles during the summer of 1957, as the Mille Miglia open road race approaches.
What it could have won: Mann’s icy, detached approach to the “Ferrari” story proved divisive among audiences and critics, but there’s no denying that he and cinematographer Erik Messerschmidt shot the hell out of the film’s kinetic, terrifying racing scenes, bringing a danger and energy that would have been very welcome to the Director and Cinematography Oscar categories. A Sound nomination for the movie’s use of racing engines and rushing wheels to create an adrenaline rush also feels very deserving of recognition, but the film was left out of the category after shortlist consideration. And even detractors of the film agree that Penelope Cruz’s furiously bitter and magnificently tense portrayal of Ferrari’s first wife Laura is a highlight, one that would fit right in the Best Supporting Actress category. —WC
Read IndieWire’s complete review of “Ferrari.”
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“Godland” (dir. Hlynur Pálmason)
Image Credit: Courtesy Everett Collection What it is: Hlynur Pálmason’s gorgeous “Godland” stars Elliott Crosset Hove as a Danish Lutheran priest who has his faith tested when he’s sent to Iceland to establish a new church.
What it could have won: The philosophical “Godland” cracked the International Feature Film shortlist, but unfortunately was not included in the final five nominees. Even sadder, the gorgeous and breathtaking cinematography from Maria von Hausswolff was ignored all season, ensuring that the field was left all male. —WC
Read IndieWire’s complete review of “Godland.”
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“The Iron Claw” (Dir. Sean Durkin)
Image Credit: Instagram/A24 What it is: Writer/director Sean Durkin’s devastating biopic and knockout ensemble drama about the Von Erichs: a legendary sports family out of the professional wrestling scene, supposedly haunted by a decades-old curse.
What it could have won: Justice for Zac Efron and Jeremy Allen White. The former “High School Musical” heartthrob and de facto “yes, chef” honoree had a decent shot at taking home acting title belts for their leading and supporting performances in “The Iron Claw” — in no small part due to the astounding physical training the actors had to complete for the film. Durkin similarly could have pulled a nod for Best Original Screenplay; the heartbreaking script has earned accolades from several smaller awards bodies. —AF
Read IndieWire’s complete review of “The Iron Claw.”
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“The Killer” (dir. David Fincher)
Image Credit: ©Netflix/Courtesy Everett Collection What it is: An adaptation of a French graphic novel series, “The Killer” is a dryly funny story about a depressed hitman who embarks on a bloody international adventure after a job gone wrong.
What it could have won: “The Killer” ultimately got ignored by Netflix as the streamer pushed several of its other films this year harder. But Fincher and his cinematographer Erik Messerschmidt are at the top of their games with the slick, stylish film, and to see their work go unrecognized is a definite bummer. And although they don’t necessarily need another Oscar, composers Trent Reznor and Atticus Ross are always a great sight to see in the Original Score category. —WC
Read IndieWire’s complete review of “The Killer.”
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“Origin” (dir. Ava DuVernay)
Image Credit: Courtesy Everett Collection What it is: Ava DuVernay’s ultra-ambitious adaptation of Isabel Wilkerson’s acclaimed nonfiction work “Caste” stars Aunjanue Ellis-Taylor as the author and historian as she battles personal tragedies while attempting to write her next book, one with the ambitious task of examining the origins of discrimination in society.
What it could have won: Maybe it was the late-in-the-season theatrical release. Maybe it was the minimal promotion from distributor Neon. Maybe the premise was a turn-off. Whatever the case is, “Origin” never had a strong foothold in the Oscars race, something DuVernay herself has decried. In an Oscars race where Black artists often struggle to receive serious consideration, the seemingly universal shrug from the Academy towards “Origin” — which should have received major consideration for DuVernay’s lush direction or Aunjanue Ellis-Taylor’s deeply emotional performance — stings all the harder. —WC.
Read IndieWire’s complete review of “Origin.”
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“Passages” (dir. Ira Sachs)
Image Credit: Courtesy Everett Collection What it is: Ira Sachs’ sexy, shocking, enthralling “Passages” stars Franz Rogowski as a temperamental queer director who steps out of his marriage with his loving husband (Ben Whishaw) to start a new relationship with a young female schoolteacher (Adele Exarchopoulos).
What it could have won: “Passages” is one of the best films of the year, but was always too small to net serious consideration (an August release date didn’t help). But the performances from all three actors are among the best of the year, and worthy of a nomination in any Oscars ceremony: Ben Whishaw is heartbreakingly kind and grounded, while Exarchopoulos is memorably steely and and fiery. Rogowski, meanwhile, is a force of nature as the narcissistic mess at the film’s center, bringing charisma that makes his self-absorption as alluring as it is repulsive. Outside of the actors, the film’s costume design of Khadija Zeggaï was also worthy of a nomination: name a single cinematic fit more iconic than Rogowski’s flowery crop top? —WC
Read IndieWire’s complete review of “Passages.”
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“Priscilla” (Dir. Sofia Coppola)
Image Credit: Sabrina Lantos/A24 What it is: Based on Priscilla Presley’s memoir “Elvis and Me,” Sofia Coppola’s “Priscilla” examines the relationship between the very young title character (Cailee Spaeney) and legendary musician Elvis (Jacob Elordi) through a cynical, decidedly unsentimental angle.
What it could have won: Sofia Coppola is a former Oscars darling who has never come back to the Oscars stage since her early career screenplay win for “Lost In Translation.” Her work has remained just as incisive since, and her screenplay and direction for “Priscilla” are some of her best despite going totally ignored during awards season. Cailee Spaeny and Jacob Elordi both deliver nuanced, thoughtful performances in the film’s uncomfortable central relationship and would have made worthy Best Actress and Supporting Actor contenders. —WC
Read IndieWire’s complete review of “Priscilla.”
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“Saltburn” (dir. Emerald Fennell)
Image Credit: Prime Video What it is: Ah, yes! It’s the bathtub water slurped ‘round the world. Produced by LuckyChap (hi, Barbie!), MRC, Lie Still, and MGM, “Saltburn” invites audiences into the slippery second feature from “Promising Young Woman” auteur Emerald Fennell. Not for everyone but beloved by those who get it, this luxe fish-out-of-water fantasy stars Barry Keoghan as the quietly explosive guest at a mansion owned by his rich schoolmate’s (Jacob Elordi) dysfunctional family.
What it could have won: Even among “Saltburn” defenders, you’ll find it’s easy to critique and pick apart this contemporary “Talented Mr. Ripley” redux. Still, it could have earned seats at any number of Oscars tables, including Best Costume Design and Best Production Design. —AF
Read IndieWire’s complete review of “Saltburn.”
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“Showing Up” (dir. Kelly Reichardt)
Image Credit: Courtesy Everett Collection What it is: An ode to the difficulties of doing the work you want in a world that makes it impossible to do so, Kelly Reichardt’s delicate “Showing Up” stars Michelle Williams as a Portland-based artist juggling family issues, her day job, and finishing her sculptures for an upcoming showing.
What it could have won: Kelly Reichardt has been making amazing movies for so long without ever having a true breakout moment, at least as far as the Oscars are concerned. It would have been lovely to see her terrific work with “Showing Up,” which is unfussy but beautifully done, get some Best Director attention — especially if it means that the Oscars might finally have nominated more than one female director in the category this year. —WC
Read IndieWire’s complete review of “Showing Up.”
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“Suzume” (dir. Makoto Shinkai)
Image Credit: Courtesy of Crunchyroll What it is: Makoto Shinkai’s animated adventure “Suzume” follows a 17-year-old girl who teams up with a mysterious boy to prevent the destruction of Tokyo by a mysterious supernatural force.
What it could have won: Shinkai’s gorgeously animated, deeply emotional anime films like “Your Name” and “Weathering With You” have received critical acclaim and rapid fandom, but failed to receive any Oscars attention. Although the more accessible and action-oriented “Suzume” seemed to have a chance to change that, with several precursor nominations, it unfortunately missed out on the Best Animated Feature race, where it would have been a lovely dark horse against “The Boy and the Heron” and “Spider-Man: Across the Spider-Verse.” —WC
Read IndieWire’s complete review of “Suzume.”
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“The Taste of Things” (dir. Tran Anh Hung)
Image Credit: IFC What it is: Tran Anh Hung’s sumptuous, engrossing romance “The Taste of Things” stars real-life exes Juliette Binoche and Benoît Magimel as 1885 chefs and colleagues at a prestigious restaurant who form a close, eventually romantic bond.
What it could have won: The gentle, crowd-pleasing romance of “The Taste of Things” feels like it should resonate well with Oscar voters, and it indeed managed to crack the shortlist for Best International Feature. Sadly, the meal didn’t prove appetizing enough for the terrific feature to get the support needed to crack the category’s final five nomination lineup. —WC
Read IndieWire’s complete review of “The Taste of Things.”
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“Teenage Mutant Ninja Turtles: Mutant Mayhem” (dir. Jeff Rowe)
Image Credit: Courtesy of Paramount Pictures. What it is: Jeff Rowe’s reboot of the classic “Teenage Mutant Ninja Turtles” franchise leans hard into the “Teenage” fourth of the title, focusing on the mutated turtle warriors as they attempt to save their city in order to win over friends and be able to convince their strict father Master Splinter to let them attend high school.
What it could have won: An utter delight with gorgeous animation, popping soundtrack, and a charming, earnest story, “Mutant Mayhew” would be a worthy Best Animated Feature nominee in even the most stacked year. But instead, it slipped into the sewers and was overlooked for contention in the category. Maybe the teased sequel will manage better? —WC
Read IndieWire’s complete review of “Teenage Mutant Ninja Turtles: Mutant Mayhem.”
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“A Thousand And One” (dir. A.V. Rockwell)
Image Credit: ©Focus Features/Courtesy Everett Collection What it is: A.V. Rockwell’s naturalistic heartbreaker “A Thousand and One” stars R&B singer Teyana Taylor in a breakout role as Inez: a mother who busts her young son out of foster care, and struggles for years to give him a good life while hiding the dark secret from authorities.
What it could have won: Taylor gives one of the great performances of the year in “A Thousand and One,” the type of unshowy performance that should get more Best Actress recognition than it usually does. And she’s supported by Rockwell’s excellent script, which tackles a potentially melodramatic story with clear-eyed honesty worthy of a Best Original Screenplay nod. —WC
Read IndieWire’s complete review of “A Thousand and One.”
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“Tótem” (dir. Lila Aviles)
Image Credit: Screenshot What it is: Lila Aviles’ gentle heartbreaker “Tótem” follows a family tragedy though the eyes of a child too young to fully comprehend it. Naíma Sentíes’ dazzles as Sol, a seven-year-old whose family is throwing a surprise party for her father; a party that, she comes to understand, also acts as a farewell before he passes away from illness.
What it could have won: Aviles’ film was selected as the official Oscar entry for Mexico, and managed to crack the shortlist for Best International Feature Film. However, despite it’s acclaim, it ultimately failed to make the final five nominations in the category come nomination day.
