Oscar-nominated Wagner Moura outlines the importance of international cinema being honoured

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In recent years, the Oscars have increasingly celebrated films from around the world, especially with more international movies being nominated for Best Picture.

For years, only English-language films were typically considered contenders for major awards. However, in recent years, movies from countries like South Korea, Japan, Germany, France, Norway, and Brazil have become serious competitors, with Brazil and France both earning spots on this year’s shortlist.

Kleber Mendonça Filho’s latest film, The Secret Agent, is a compelling story about a man, played by Wagner Moura, trying to escape during Brazil’s harsh military dictatorship. It’s the second movie from Filho to be featured in two years, following I’m Still Here.

The film is excellent – possibly the strongest of all the nominees. In an interview with TopMob last month, Moura said he was very pleased to see the Academy recognizing international films.

He started by saying there was a lot to discuss, and he was particularly impressed with several international films he’d seen recently. He highlighted ‘Sentimental Value,’ ‘It Was Just an Accident,’ and ‘Sirât’ as being among the best films of the year.

He noted that after Bong Joon-ho’s Parasite won Best Picture in 2020, viewers seemed much more willing to watch movies and shows with subtitles.

Looking back at shows like Narcos, which we made just ten years ago, we used to worry about whether American audiences would accept subtitles. We weren’t sure they were used to reading them. But now, it’s completely normal! People readily watch shows with subtitles and enjoy international content, and I think that’s fantastic.

Moura shared that he’d always loved watching movies from America, England, and France, and believes it’s great that people around the world are becoming more open to international films.

I feel like Mike Leigh and Ken Loach really shaped my idea of what England is like, and I think that’s wonderful. As for the US, my understanding comes from the movies and TV shows I watched growing up.

It’s funny, Christmas in Brazil happens during summer and it’s really hot! But because I grew up watching American Christmas movies, I always picture snow when I think of the holidays.

He went on to say that it influences a country’s culture and how people perceive it, which is essential for any nation to grow and thrive.

It’s not just about how our work appears to others, but also about honest self-reflection. As Shakespeare wrote in Hamlet, we need to hold up a mirror to ourselves. That reflection might not always be perfect – sometimes it’s skewed, sometimes it’s clear – but it’s crucial to understand who we are.

Moura believed audiences outside of Brazil would be particularly interested in the film’s detailed depiction of Recife in the 1970s, finding it a ‘fascinating’ glimpse into the city’s culture.

He admitted to being quite worried about the world’s current situation, but pointed out that this was one area where we could feel optimistic.

It used to be difficult to watch Iranian films – I had to go to a specific cinema at a specific time. Now, I can easily watch films by directors like Abbas Kiarostami on streaming services like the Criterion Collection. I think that’s a great benefit of technology.

He noted that Brazil receiving two consecutive Best Picture nominations wasn’t a matter of chance, suggesting a deliberate trend or quality in their filmmaking.

With the end of the previous administration [under Jair Bolsonaro, who is currently imprisoned], we now have a president and government that once again supports the arts and culture, he explained.

We currently rely heavily on government funding, which explains our recent success. This is a great time for Brazilian cinema, as evidenced by films like ‘Since I’m Still Here’ gaining international recognition at film festivals.

When asked about good films for newcomers to Brazilian cinema, Moura quickly shared a lot of suggestions.

I really admire Walter Salles as a filmmaker,” he started. “His film Foreign Land is fantastic, and you absolutely have to see Héctor Babenco’s Pixote – it’s incredible. Bye Bye Brasil by Carlos Diegues is also amazing, and Eduardo Coutinho’s Twenty Years Later is a true masterpiece.

In the 1960s, a film movement called Cinema Novo emerged, heavily inspired by the realistic style of Italian neorealism and the innovative techniques of the French New Wave. It believed that film could be a powerful force for change.

We created a lot of fantastic films, including one by the brilliant director Glauber Rocha. I’m particularly captivated by his film, Deus e o Diabo na Terra do Sol, which is known as Black Devil, White God in English. There were many other excellent titles, too!

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The Secret Agent is showing in UK cinemas

Authors

Patrick CremonaSenior Film Writer

Patrick Cremona writes about movies for TopMob, covering new releases in theaters and on streaming services. He’s been with the site since October 2019, and during that time he’s interviewed many famous actors and reviewed all kinds of films.

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2026-03-14 12:35