Iran at the Oscars: Art or Politics?
WANA (Oct 04) – For the first time in the history of Iranian cinema, four films with direct or indirect ties to Iran have entered the preliminary rounds of the Academy Awards. Yet, their presence is neither straightforward nor entirely under Iran’s flag. Instead, several are being submitted by countries such as Tajikistan, Canada, and France.
“Cause of Death: Unknown” – Iran’s Official Entry
Iran’s official Oscar submission this year is Cause of Death: Unknown, a politically charged drama that has sparked both acclaim and controversy. The film was initially selected for the 41st Fajr Film Festival (2023), but it was pulled after the Ministry of Culture and Islamic Guidance refused to grant it a screening license.
It remained banned for three years before finally being released in Tehran and several provincial cities in January 2025, where it received strong critical reviews.
Critics praised the film’s realistic storytelling, meticulous directing, and avoidance of sentimentality, calling it one of the strongest Iranian social dramas in recent years.
Yet, some within the film industry argue that its limited release and modest domestic reception make it a questionable choice as Iran’s official Oscar representative. They believe stronger contenders, such as Call Me Ziba by Rasoul Sadr Ameli, could have better showcased Iranian culture and society.
“Cause of Death Unknown” Iran’s Entry for 2026 Oscars. Social media/ WANA News Agency
Jafar Panahi and the Political Road to Hollywood
Perhaps the most controversial figure in this year’s lineup is Jafar Panahi. For decades, Panahi has been known in Iran as a filmmaker whose works often bypass official channels, frequently relying on foreign financing and international festival platforms.
His latest film, It Was Just an Accident, follows this same path. Produced without domestic permits and funded externally, it premiered at the Cannes Film Festival.
At Cannes, critics and even some Western outlets acknowledged that Panahi’s work carried a heavier political weight than purely artistic value. The film was widely framed as a voice of dissent from Iran rather than simply a cinematic achievement.
Now, by competing under the flag of another country, Panahi’s film once again raises questions: is this pursuit about winning an artistic prize, or about securing political recognition on the world stage?
Jafar Panahi, an Iranian filmmaker. Social media/ WANA News Agency
Tajikistan and Canada Carry Iranian Roots to the Oscars
Alongside Iran’s official entry and Panahi’s film, two other productions with Iranian connections are entering the Oscars under different national flags.
Tajikistan’s submission is Black Rabbit, White Rabbit by Iranian director Shahram Mokri, co-produced with the United Arab Emirates. While labeled as a Tajik entry, its artistic DNA reflects the reach of Iranian cinema across the region.
Canada’s entry is The Things You Kill, directed by an Iranian-Canadian filmmaker. Marketed under a Canadian nationality, it nonetheless carries strong Iranian creative roots.
This means that effectively, four Iran-linked films will compete in the Oscars this year—though only one, Cause of Death: Unknown, officially represents Iran. There are even discussions that another Iranian project, Oldboy, could unexpectedly replace its current slot, further complicating the lineup.
Black Rabbit, White Rabbit by Iranian director Shahram Mokri. Social media/ WANA News Agency
Politics and the Oscars – An Old Connection
The controversy is not new. The Academy has long been accused of weighing political considerations alongside artistic merit. Iranian submissions, in particular, have often been scrutinized for their political undertones rather than purely cinematic quality.
This year appears to reinforce that pattern. On one hand, Iran’s official submission has been clouded by domestic disputes and limited visibility. On the other, figures like Panahi, supported by foreign backers and Western media, are advancing their films as political symbols under other flags.
As a result, Iran’s presence at the Oscars in 2025 seems less defined by its artistic achievements and more by the interplay of politics, controversy, and international narratives surrounding its filmmakers.
