Mohammad Rasoulof, Shahrbanoo Sadat Push Back on Idea of Separate Oscar Category for Exiled Filmmakers as Cate Blanchett’s Displacement Film Fund Hits Tokyo

At the Tokyo International Film Festival, Iranian filmmaker Mohammad Rasoulof and Afghan-born director Shahrbanoo Sadat expressed reservations about the notion of creating a dedicated Oscar category for exiled filmmakers, a topic gaining attention following recent changes in Academy rules. These changes now formally recognize displaced filmmakers, allowing them eligibility for the Oscars without the usual barriers.

The festival served as the platform for the Japanese premiere of the first five short films supported by the Displacement Film Fund, co-founded by actress Cate Blanchett. As the fund's initial slate of works began to reach wider audiences, the debate about categorizing displaced filmmakers crystallized.

Sadat, whose film "Super Afghan Gym" was featured in the fund’s lineup, challenged the label of 'displaced filmmaker' itself, suggesting that such categorization risks oversimplifying complex identities and experiences. She indicated a preference for being recognized primarily as a filmmaker rather than through the lens of displacement.

Rasoulof, who contributed the film "The Sense of Water" to the fund, echoed this sentiment by emphasizing his focus on the craft of filmmaking above all else. He expressed concern that segregating artists into specific categories might inadvertently create divisions rather than foster inclusion.

Representing the International Film Festival Rotterdam (IFFR), Clare Stewart highlighted that Rasoulof’s recent Oscar-nominated film, "The Seed of the Sacred Fig," already benefited from the Academy’s updated eligibility criteria by representing Germany. Stewart argued that the current approach encourages broader dialogue about the role of displaced filmmakers in society without necessitating a separate Oscar category.

Blanchett affirmed the panel’s overall support for the Academy’s revised stance, underscoring its importance in acknowledging the realities faced by artists affected by conflict and forced migration. She pointed out that many artistic careers are disrupted by such circumstances and praised the Academy’s recognition of this challenge as a meaningful step.

The Displacement Film Fund, initiated at the UNHCR Global Refugee Forum in December 2023, targets filmmakers who have been displaced or who authentically tell stories about displacement. Blanchett’s collaboration with UNHCR goodwill ambassador Yanai Koji, a senior executive at Fast Retailing, helped catalyze the fund’s creation. The fund’s mission is to amplify narratives often marginalized in mainstream cinema and counteract harmful stereotypes about displaced populations.

Managed by IFFR’s Hubert Bals Fund, which has a three-decade history of supporting filmmakers from regions with limited film infrastructure or political challenges, the Displacement Film Fund launched publicly at the festival in January 2025. Its founding partners include Mastermind, Uniqlo, the Tamer Family Foundation, the Amahoro Coalition, and Dutch foundation Droom en Daad, with the SP Lohia Foundation joining later.

The first cohort of funded filmmakers—Rasoulof, Sadat, Mo Harawe, Hasan Kattan, and Maryna Er Gorbach—premiered their films at IFFR in early 2025 and have since showcased their work at festivals in London, El Gouna, São Paulo, and now Tokyo. A second group is currently in production.

Blanchett noted that the filmmakers enjoy creative freedom, with no obligation to focus their stories explicitly on displacement. For instance, "The Sense of Water" portrays a migrant’s isolation and language challenges, reflecting Rasoulof’s own experiences following forced relocation. Sadat’s background involves displacement from Afghanistan to Europe, which informs her filmmaking perspective but does not confine her narratives.

During the Tokyo event, Japanese actor Koji Yakusho, noted for his Cannes Best Actor win, attended a post-screening discussion. He praised the emotional depth and understated storytelling of Rasoulof’s film, while also appreciating Sadat’s work for its unexpected humor and warmth. Sadat revealed she initially had not intended "Super Afghan Gym" as a comedy but was pleasantly surprised by its reception.

Blanchett concluded the session by expressing her enthusiasm for future collaborations, signaling ongoing support for displaced filmmakers through both advocacy and practical resources. The collective efforts of the fund and the Academy’s new rules represent a broader industry recognition of the complex realities facing artists in exile, while also cautioning against reductive categorization.

In summary, while the film community welcomes increased visibility and support for displaced filmmakers, key voices emphasize the importance of inclusion within existing frameworks rather than creating segregated award categories. The Displacement Film Fund stands as a significant initiative amplifying diverse stories without imposing limiting labels on their creators.