The 98th Academy Awards are now behind us, and for fellow cinephiles, that meant a televised night brimming with artistry, craftsmanship and virtuosity from across the film industry — one that, in hindsight, casts earlier conversations with filmmakers like “Sentimental Value” editor Oliver Bugge Coutté in an even more meaningful light.
The Oscars aren’t just about glamour and red carpet photoshoots, they’re a space for dialogue and recognition, honoring the invigorating films and filmmakers that have disrupted the industry with their pièce de résistance.
Prior to this year’s Oscars, I had the privilege of being a friend’s plus-one at TheWrap’s screening of the Oscar-nominated International Feature Films. The event involved screening the trailers for nominated motion pictures, followed by a Q&A with the directors, editors and casting directors, hosted by Sharon Waxman. Nominated films for the 2026 Oscars include: “The Secret Agent” (Brazil), “Sirāt” (Spain), “It Was Just an Accident” (France), “The Voice of Hind Rajab” (Tunisia) and of course, the winning international film of the year, “Sentimental Value” (Norway).
All of the featured films had enticing storylines, straddling the spectrum between wholly fictional narratives and those rooted in true stories. Beyond the outcomes of nominations and awards, what remains especially compelling are the filmmakers’ perspectives; their creative decisions, challenges and reflections, which underscore the thoughtfulness and craft behind their work.
Jafar Panahi, the director of “It Was Just an Accident,” shot his film in secret in Tehran while remaining a target of the Iranian regime. On stage, accompanied by a translator, Panahi explained that the film follows Iranian political prisoners who unexpectedly encounter their sadistic former jailer and debate whether to take revenge. The story serves as a clear nod to the Iranian protests and the country’s broader political climate.
Panahi recalled that during one screening, audiences laughed at a scene in which the protagonists capture their torturer but still help him and his family reach a hospital, finding irony in their compassion. Panahi, however, emphasized that this moment reflects a deeply humanistic impulse he believes remains alive among the Iranian people — and that no one would laugh at such an act of kindness if the film had premiered in Iran.
Kaouther Ben Hania of “The Voice of Hind Rajab” centers her docudrama on the Red Crescent’s mission to rescue a 6-year-old Palestinian caught in the crossfires during the Israeli invasion of the Gaza Strip.
Featuring a real 911 recording of Hind Rajab, the film becomes an evocative call for humanity. Hania emphasized the importance of presenting the story in the present tense, underscoring that the horrors unfolding in Gaza are not confined to the past but continue to occur with devastating regularity.
Hania also stressed avoiding graphic images in her films, explaining that she is not a filmmaker who finds excitement in depicting weapons, blood or anything that could glorify the ongoing crisis.
During the interview, Waxman asked Oliver Laxe what the title of his film “Sirāt” meant, who remarked that one doesn’t really need to know the meaning of the word — just feel it. There’s something in the relationship between the images and the viewer’s body, a sentiment that mirrors the plot, which follows a father and his son searching for his daughter in southern Morocco. The fragility of the human condition is central to the film, challenging notions of safety and family.
The casting director for “The Secret Agent,” Gabriel Domingues, detailed the process of selecting actors who could truly bring the characters to life. Domingues explained that he wanted the film to showcase a full mosaic of Brazilian imagery, faces, bodies and expressions that reflected 1970s Brazil, particularly during the dictatorship.
Many of the characters were inspired by images from recent Brazilian political life, portraying individuals who go undercover and conceal secrets, or even other people, while still maintaining a sense of charisma.
Before “Sentimental Value” ultimately claimed Oscar recognition, this conversation offered an early glimpse into the creative instincts that would soon earn it that acclaim. Norway’s “Sentimental Value” editor Oliver Bugge Coutté attended in place of the movie’s director. Coutté explains the creative choices that he made whilst editing; he specifically chose two full shots and two close-ups for a particular scene of a father and daughter moment. Another scene involved dynamic jump-cuts and jazz music for two characters kissing and moving around in bed. Waxman asked Coutté why the film wasn’t produced in English for the sake of having more visibility; the film is shot in Norwegian, offering English subtitles, just for context. Coutté explained that the film’s usage of Norwegian dialogue preserves its cultural specificity, rather than reframing the story for broader linguistic accessibility.
Together, the Q&A sessions offered an introspective look at each film’s artistic process and the messages the directors and editors sought to convey to their audiences. Across each film, directors and production crew emphasized filmmaking’s ability to preserve cultural identity and shine a spotlight on the realities behind ongoing international affairs.
These conversations serve as a reminder that beyond accolades, cinema endures as a powerful medium for storytelling, connection and cultural expression.
