Indian films remain ‘homebound’ and fail to reach the Oscars: What past entries tell us
India’s Oscar journey once again hit a familiar wall this awards season. Despite critical acclaim, festival buzz and global backing, Neeraj Ghaywan’s Homebound failed to break into the final nominations for the 98th Academy Awards. The outcome has revived an old question: why does the world’s most prolific film industry still struggle to convert promise into Oscar success?
A near miss that tells a bigger story
Homebound, a Hindi-language drama produced by Karan Johar and Adar Poonawalla, was India’s official entry for the Best International Feature Film category at the Oscars 2026. The film, which traces the bond between a Muslim and a Dalit childhood friend striving for dignity through police service, made it to the Academy’s shortlist of 15 but fell short of the final five.
The film had much working in its favour. It premiered at Cannes in the Un Certain Regard section, featured a recognised cast including Ishaan Khatter, Vishal Jethwa and Janhvi Kapoor, and even had Martin Scorsese attached as executive producer. Yet, when nominations were announced in Los Angeles, India was once again left out. The final list featured films from Brazil, France, Norway, Spain and Tunisia.
This result underlined a sobering reality. Since Lagaan earned a nomination in 2001, no Indian film has managed to cross the final Oscar barrier in this category.
A thin record despite decades of cinema
India’s Oscar presence has been defined by rare milestones rather than consistency. Only three films — Mother India (1957), Salaam Bombay! (1988) and Lagaan (2001) — have ever been nominated for Best International Feature Film. Each gained international attention for strong storytelling rooted in Indian realities, but none won the award.
More than two decades later, Homebound joins a long list of official entries that failed to advance, reinforcing how distant that breakthrough remains.
Selection debates, money and missed timing
Recent years have exposed deeper structural issues. In 2025, Kiran Rao’s Laapataa Ladies did not even reach the Oscar shortlist, triggering criticism of the Film Federation of India’s selection choices. The decision to pick it over Cannes Grand Prix winner All We Imagine As Light echoed earlier controversies, from The Lunchbox to RRR.
Beyond selection, Oscar campaigns demand heavy spending. Marketing, trade advertising and private screenings can cost over $50,000, a hurdle for many Indian filmmakers. Add fierce global competition from more than 90 countries and frequent delays in campaigning, and India’s Oscar dream continues to slip just out of reach.