'Laapata Ladies' and its laapata Oscar

The dream of seeing Laapata Ladies — or Lost Ladies, as it’s now being called — on the 2025 Oscars shortlist is officially over.

The Academy released its much-anticipated shortlist earlier today, and the film was nowhere to be found. Hours later, Aamir Khan Productions, the driving force behind the movie, put out a statement expressing both disappointment and gratitude:

"Laapataa Ladies did not make it to the Academy Awards shortlist this year, and we are of course disappointed, but equally we are immensely grateful for the incredible support and belief we’ve received throughout this journey."

Gracious, sure — but let’s not pretend this doesn’t sting.

The Academy’s shortlist for International Feature Film, as part of 10 categories, included titles from Brazil (I’m Still Here), Canada (Universal Language), the Czech Republic (Waves), and Palestine (From Ground Zero). India, however, was left empty-handed in this category, with the country’s only glimmer of hope now resting on the Live Action Short Film contender, Anuja.

Laapata Ladies, with its layered storytelling and heartfelt performances, was considered one of the frontrunners in India’s Oscar race. But its exclusion serves as a stark reminder of how unpredictable international recognition can be. It also highlights the stark divide between what Indian audiences deem worthy of praise and what international juries and critics embrace.

But in the midst of this disappointment, some voices have begun to call attention to another glaring issue: the persistent and somewhat baffling track record of India’s official selections to the Oscars.

One such voice was filmmaker Hansal Mehta's, who, in his usual sarcastic tone, took a dig at the Film Federation of India (FFI) for their seemingly “impeccable” strike rate.

It's a comment that resonates with many in the film industry. If there’s one thing the FFI selection has managed to do consistently, is raise eyebrows.

One user on X put it bluntly:

"Laapata Ladies getting selected over All We Imagine As Light is plain tragic."

This year, the real frontrunner in Indian cinema for many, was Payal Kapadia’s All We Imagine As Light. With its remarkable storytelling, emotional depth, and groundbreaking style, the film has been gathering accolades from festivals and critics worldwide.

It’s the kind of film that breaks boundaries not just by being a Malayalam-language film but by making waves on the global stage. In fact, it has achieved something no other Indian film has in recent years: it became the first Malayalam film to be embraced by audiences across the entirety of India.

And that’s just the start, All We Imagine As Light has since become the first Indian film since Satyajit Ray’s Pather Panchali to garner global attention on this scale.

Yet, for reasons unknown, the FFI chose Laapata Ladies as the country's official submission. As with every year, the decision raised more questions than answers. Why does a film with such international potential and acclaim continue to be overlooked? It’s a query that many cinephiles and critics alike continue to ponder.

While Laapata Ladies won’t get its Oscar moment, it’s far from forgotten. In fact, missing out on the Academy’s shortlist might turn out to be a blessing in disguise. Sometimes, the absence from such awards can create a different kind of recognition, a grassroots following, a deeper cultural imprint.

And maybe that’s where Laapata Ladies will ultimately shine: not on a red carpet, but in the hearts of those who believed in it.