The international landscape for the 99th Academy Awards is steadily taking shape as national film bodies begin locking in their official contenders for the prestigious Best International Feature Film category. In the latest wave of announcements, cinematic authorities in Southeast Asia have revealed their respective champions for the 2027 Oscars. The Philippines has selected the critically acclaimed feature Filipipñana, written and directed by Rafael Manuel, while Singapore has chosen We Are All Strangers, the latest dramatic offering from celebrated auteur Anthony Chen.
Both selections underscore the robust and evolving nature of Southeast Asian cinema, bringing distinct narrative voices, acclaimed festival pedigrees, and formidable distribution backing to the global stage. As the race toward the 99th Academy Awards intensifies, these two prominent regional titles are poised to capture the attention of the Academy’s international voting members through culturally resonant storytelling and high artistic caliber.
The Philippine Contender: Rafael Manuel’s Filipipiñana
Representing the Philippines in the upcoming Oscar race is Filipipiñana, a feature-length debut written and directed by filmmaker Rafael Manuel. The film centers on the compelling journey of Isabel, a 17-year-old girl hailing from a remote province in the Philippines who secures employment at an exclusive and prestigious golf resort. Through Isabel’s eyes, the film explores class dynamics, labor, isolation, and the complex social strata embedded within contemporary Philippine society.
The project first generated significant international buzz during its festival run, most notably at the Sundance Film Festival, where it caught the eye of veteran industry executives and independent distributors. Among its most vocal champions is Richard Lorber, the chairman and CEO of Kino Lorber, the North American distribution company that acquired the film. Lorber did not hesitate to lavish praise upon Manuel’s directorial debut, categorizing it as a transformative cinematic milestone.
"Setelah puluhan tahun berkecimpung dalam distribusi film…" Lorber’s initial encounter with the film at Sundance left an indelible impression. Reflecting on his extensive career in film curation and distribution, Lorber remarked that discovering a project that genuinely feels like the vanguard of the medium’s future is a rare privilege. He expressed profound enthusiasm for the film’s selection as the official Philippine submission, explicitly reaffirming Kino Lorber’s steadfast commitment to spearheading a comprehensive and competitive awards campaign for the feature through to the conclusion of the Oscar season.
According to distribution metrics provided by Kino Lorber, Filipipiñana has already enjoyed a successful theatrical rollout across North American markets. Buoyed by this commercial and critical momentum, the studio’s publicity and marketing apparatus is currently collaborating closely with the film’s core production team. The strategic objective is to seamlessly transition the ongoing promotional efforts into a targeted, high-impact awards campaign tailored to resonate with Academy voters.
Singapore’s Entry: Anthony Chen Completes a Trilogy with We Are All Strangers
Meanwhile, the Singapore Film Commission has designated We Are All Strangers, written and directed by acclaimed filmmaker Anthony Chen, as the nation’s official contender for the 99th Academy Awards. Set in contemporary Singapore, the film examines the intricate nuances of modern family dynamics, interpersonal alienation, and unexpected life alterations that disrupt the status quo.
The selection of We Are All Strangers marks a historic milestone for Singaporean cinema. The film shattered glass ceilings by becoming the very first Singaporean production to be selected to compete in the main competition category at the prestigious Berlin International Film Festival, signaling a major leap forward for the nation’s creative output on the European festival circuit.
Crucially, We Are All Strangers serves as the culminating chapter in Anthony Chen’s celebrated Growing Up trilogy. The cinematic journey began over a decade ago with his breakout feature Ilo Ilo in 2013, followed by Wet Season in 2019. Both preceding films achieved extraordinary critical acclaim and commercial resonance on a global scale, collectively amassing more than 50 international awards.
Among the trilogy’s most notable accolades are five prestigious Golden Horse Awards, as well as the coveted Caméra d’Or awarded to Ilo Ilo at the Cannes Film Festival. Furthermore, both Ilo Ilo and Wet Season previously served as Singapore’s official submissions to the Academy Awards, representing the country at the 86th and 93rd Oscars, respectively. The selection of We Are All Strangers thus brings a cohesive, highly anticipated thematic arc full circle, positioning Chen as one of the region’s most enduringly successful exports to the Academy Awards platform.
Background and Context of the Academy Awards International Feature Category
The Best International Feature Film category—formerly known as Best Foreign Language Film until a branding overhaul by the Academy of Motion Picture Arts and Sciences (AMPAS) prior to the 92nd Academy Awards—remains one of the most competitive and culturally significant segments of the annual Oscar ceremony. Each eligible country is permitted to submit one officially sanctioned film, typically selected by a curated committee of industry professionals, critics, and filmmakers within that respective nation.
The timeline for the 99th Academy Awards follows a rigorous structured schedule. National committees must vet, vote upon, and officially declare their submissions to the Academy, usually with deadlines falling in the early autumn months of the preceding year. Following the submission window, the Academy’s general committee and branch-specific screening committees review the eligible global pool. This pool is systematically narrowed down through a multi-tier voting process, beginning with an initial shortlist of fifteen films, followed by the announcement of the official five nominees in January, leading up to the final ceremony.
In recent years, the profile of Southeast Asian cinema within the Academy has experienced a notable upward trajectory. Driven by increased global accessibility, digital streaming proliferation, and a growing appetite for authentic, regionally grounded narratives among international audiences, films from countries like the Philippines and Singapore are increasingly viewed as serious contenders rather than mere participants.
Strategic Implications and Awards Season Outlook
The early announcement of these two regional heavyweights highlights a sophisticated shift in how independent and international distributors approach the Oscar race. Gone are the days when international submissions relied solely on festival prestige; today’s campaigns demand robust distribution footprints, strategic public relations maneuvers, and sustained visibility in major critical hubs such as New York and Los Angeles.
For Filipipiñana, Kino Lorber’s aggressive backing provides a distinct structural advantage. By establishing a proven theatrical baseline in North America prior to the height of awards season, the film enters the consideration pool with pre-existing critical validation and commercial viability. Richard Lorber’s public pledge to support the film "until the end" signals a well-funded, meticulously executed campaign aimed at navigating the notoriously complex landscape of Academy voting blocs.
For Anthony Chen and We Are All Strangers, the film leverages a built-in pedigree and legacy of excellence. Chen is already a familiar name among international film programmers and Academy voters due to his previous triumphs at Cannes, Berlin, and regional Asian film platforms. The thematic weight of the Growing Up trilogy offers voters a sense of cinematic completion and artistic maturation, elements that historically resonate well with members of the Writers and Directors branches of the Academy.
As the months progress toward the official announcement of the Oscar shortlists, the entries from the Philippines and Singapore will face stiff competition from a global slate expected to feature powerhouse submissions from Europe, Latin America, and East Asia. Nonetheless, by securing early, high-profile declarations and anchoring their campaigns with proven critical champions like Kino Lorber and Anthony Chen, both nations have signaled their serious intent to make a profound impact on the global cinematic stage at the 99th Academy Awards.
