“Come to Brazil?” The Oscars Just Might

The New Yorker

by Michael Schulman

February 20, 2026

AI-Generated Deep Dive Summary

Brazil’s recent success at the Oscars has sparked a nationwide fever, with fans celebrating not just the films but also the cultural pride they represent. The country’s enthusiastic response, fueled by its vibrant online community, highlights a shift in the Academy’s global reach since the #OscarsSoWhite controversy led to greater diversity among members. Brazil’s films, like *The Secret Agent* and *I’m Still Here*, have broken into categories beyond the International Feature Film, showcasing the country’s growing influence in Hollywood. Brazil’s Oscar mania is unique, with fans turning social media into a hub for celebration and competition. The nation’s active online presence, particularly on platforms like TikTok, has turned the Oscars into a cultural event akin to a World Cup rivalry. This year, films like *KPop Demon Hunters* and *Sentimental Value* are making waves, while nominees like Wagner Moura and Adolpho Veloso have become national heroes. Brazil’s humor and creativity shine through its enthusiastic engagement, turning even controversies into moments of pride. The Oscars’ evolution from a Hollywood-centric event to a global stage reflects broader changes in media representation. Foreign films now consistently compete across categories, from Best Picture to Best Original Song, breaking down traditional barriers. Brazil’s success is part of this larger trend, proving that cultural diversity can thrive on the world’s biggest awards stage. For readers interested in cultural shifts, Brazil’s Oscars fever offers a fascinating look at how global storytelling is reshaping entertainment and identity. This year’s nominations have already made history, with Brazil leading the charge in categories like Best Casting and Best Cinematography. The country’s impact extends beyond its borders, inspiring debates about representation, diversity, and the future of international cinema. As the

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Originally published on The New Yorker on 2/20/2026