The Need for Global Policies to Democratize Cultural Recognition in Cinema

The international recognition of film productions outside the North American axis remains a significant challenge on the global stage. The recent victory of the Brazilian film Ainda Estou Aqui at the 2025 Oscars, winning the award for Best International Feature Film, highlights the ability of productions from other countries to compete on equal footing with traditional winners. However, this achievement—described by international media as “surprising” and “unexpected”—reinforces a structural issue: the dominance of North American cultural influence in the appreciation of cinema and the urgent need for measures that promote a more equitable recognition of diverse cinematic narratives worldwide.

The foreign press coverage of the awards exposed the recurring pattern of prioritizing American and European productions over films from countries historically marginalized in the awards circuit. Variety, for instance, emphasized the victory of Ainda Estou Aqui as an upset against the French favorite Emilia Pérez, which, despite its thirteen nominations, fell short of expectations. This contrast illustrates how even culturally and historically significant films, such as Walter Salles’ feature, can be undervalued compared to titles that already have an established space in the industry.

The central issue is not just the difficulty in gaining recognition but also how Hollywood’s dominance over the film industry influences award metrics and distribution channels. Many Latin American, African, and Asian productions face barriers ranging from funding challenges to the lack of international screening circuits, making their rise in the global market even more difficult. This creates a vicious cycle in which only films produced within the standards set by major studios gain enough visibility to compete for prestigious awards.

The creation of inclusive policies that encourage multicultural recognition in the film industry is therefore an urgent necessity. The proposal for international organizations like the UN to launch specific grants to award and fund filmmakers from diverse national backgrounds emerges as a viable alternative to decentralizing global film production and distribution. These grants could be managed by a committee of multicultural experts, ensuring that films are evaluated based on criteria that value not only technical excellence but also thematic diversity and the cultural significance of each production.

Additionally, implementing initiatives that promote the circulation of these films at international festivals and on streaming platforms could help expand their audience, allowing different cinematic expressions to reach broader viewership. The recognition of the Brazilian film at the 2025 Oscars, while symbolic, reinforces the idea that art must be seen beyond the borders imposed by commercial interests. The fact that Ainda Estou Aqui was a box office success in Brazil and sparked strong national emotion demonstrates a real public interest in authentic and representative stories, strengthening the argument that cinematic art should not be confined to a single production hub.

Brazil’s historic Oscar victory proves that films from diverse nations have the potential to achieve global recognition and impact. However, as long as the recognition system continues to favor certain industries while ignoring others, sociocultural segregation will remain an obstacle to artistic development. Decentralizing cultural power is essential for cinema to become truly global, ensuring that different peoples and their stories have equal opportunities for recognition and appreciation.