Aneek Chaudhuri’s The Zebras, a film that dissects the complexities of Artificial Intelligence (AI) within the framework of contemporary human relationships, has resonated with audiences both domestically and internationally, making its way to the Oscars. With the Oscars, The Zebras now has a chance to compete for global recognition.

The Zebras has entered the first round of the Oscars in the General Entry category, after getting released in Los Angeles in Laemmle Theatres on September 13. The film completed its Oscar-qualifying run for 21 shows in Los Angeles in the month of September where the film was distributed by Double Exposure. Indywood was its Indian collaborator. It is competing from the General Entry category in multiple sections.

“General Entry categories include all the major awards like Best Picture, Best Director, Best Actor/Actress, and others. Any film, regardless of language or country of origin, can compete in these categories, provided they meet the eligibility rules, such as a specific release date and screening requirements in Los Angeles. Best International Feature Film Category is specifically for films produced outside the United States, where more than 50 per cent of the dialogue is in a language other than English. Each country is allowed to submit one film per year for consideration in this category,” said Aneek.

Speaking about the film’s entry into the Oscar race, Chaudhuri said: “For me, cinema has always been about asking questions rather than providing answers. The Zebras doesn’t attempt to solve the dilemma of AI; it invites the audience to sit with it, to ponder what it means to live in a world where technology could understand us better than we understand ourselves.”

A Unique Cinematic Experience

The film’s aesthetic is a key element that has drawn attention. Shot with a muted colour palette interspersed with sharp contrasts, the visual language of The Zebras reflects its thematic concerns. The zebra motif is omnipresent — not only as a literal AI entity but also as a recurring visual pattern that appears throughout the film. This motif is symbolic of dualities: man versus machine, logic versus emotion, progress versus tradition.

Chaudhuri elaborated on the symbolism. “The zebra as an animal is black and white, two opposing forces coexisting. In many ways, this is how we must view our relationship with AI — not as black and white, but as something that exists in the in-between. The film’s visual design was meant to evoke that sense of duality, of being caught between two worlds.”

This attention to detail extends beyond the visuals to the sound design, where silence plays a crucial role. Often in scenes involving the AI, there is a near-total absence of music or ambient noise, allowing tension to build naturally. This creates an eerie atmosphere that underscores the film’s emotional beats, leaving the audience to grapple with the weight of the questions posed.

Global Reception and Impact

The Zebras premiered at the Indian Film Festival of Melbourne (IFFM) 2024, where it received a standing ovation. The film has since been showcased in Los Angeles, where it began its Oscar-qualifying run. Critics have praised it for its innovative storytelling and its willingness to tackle philosophical questions in a cinematic format.

One reviewer noted: “In an era where Hollywood is obsessed with superhero franchises and CGI spectacles, The Zebras feels like a breath of fresh air. It’s a film that isn’t afraid to slow down, to let its audience sit in silence and think. Chaudhuri’s film may be small in scale, but its ideas are immense.”

For Aneek Chaudhuri, the international recognition is both humbling and a sign that Indian cinema is expanding its reach. “Indian cinema has always been known for its vibrancy and emotion. With The Zebras, I wanted to bring something new to the table — a film that deals with global themes but through an Indian lens. It’s heartening to see the world embracing it,” Chaudhuri said.

For Chaudhuri, the future of cinema lies in its ability to adapt to the rapidly changing world while maintaining its focus on the human experience. He sees films like The Zebras as part of a broader movement toward introspective, idea-driven cinema that challenges audiences to think critically about the world around them.