Here’s a bold statement: Australia’s latest Oscar submission is not just a film—it’s a powerful statement about climate change, resilience, and the human cost of environmental destruction. But here’s where it gets controversial: the country has chosen The Wolves Always Come at Night, a Mongolian-language documentary-fiction hybrid, to represent them in the 2026 Academy Awards’ Best International Feature category. Directed by Gabrielle Brady, the film doesn’t just tell a story—it immerses you in the lives of Mongolian herders Davaasuren Dagvasuren and Otgonzaya Dashzeveg, who are forced to abandon their homeland after a devastating sandstorm exacerbated by the climate crisis. It’s a tale of loss, but also of hope, as it blends real-life struggles with cinematic storytelling. And this is the part most people miss: the film is also competing in the Best Documentary Feature category, making it a double contender with a unique narrative approach.
The journey of The Wolves Always Come at Night hasn’t been without drama. Its world premiere at the 2024 Toronto International Film Festival was overshadowed by controversy when Davaasuren and Otgonzaya were denied visitor visas by the Canadian government—a stark reminder of the global barriers faced by those most affected by climate change. Despite this, the film has traveled far, screening at prestigious festivals like the London Film Festival, Zurich Film Festival, IDFA, San Francisco International Film Festival, True/False, and the Sydney Film Festival.
What makes this project even more groundbreaking? It’s the world’s first co-production between Germany, Australia, and Mongolia, backed by an impressive team of executive producers, including Oscar-winner Dan Cogan. The film received significant support from Screen Australia, Weir Anderson Films, Storming Donkey Productions, BBC Storyville, SWR Arte, and Madman Films, with Cinephil handling worldwide sales.
Here’s the twist: While English is Australia’s dominant language, the country has consistently submitted films in other languages to the Oscars’ International Feature category since 1996. Why? It’s a deliberate choice to highlight diverse voices and stories, both within Australia and beyond. Past submissions include Rolf de Heer and Peter Djigirr’s Ten Canoes (2006) in Yolngu Matha and Gunwinggu, Warwick Thornton’s Samson and Delilah (2009) in Warlpiri, and Bentley Dean and Martin Butler’s Tanna (2016) in Nauvhal—the latter earning an official Oscar nomination.
This raises a thought-provoking question: Should the International Feature category at the Oscars be about language diversity, or is it more about representing a country’s cultural identity? Australia’s approach challenges us to think beyond borders and languages, focusing instead on the stories that unite us.
What’s your take? Does The Wolves Always Come at Night deserve a spot at the Oscars? And more importantly, how can films like this spark global conversations about climate change and human resilience? Let’s debate in the comments!
