Asia Pacific Screen Awards 2026: ‘All of a Sudden’ and ‘Elephants in the Fog’ Lead Nominations as a New Generation of Filmmakers Emerges
Ryusuke Hamaguchi and Abinash Bikram Shah lead the field at the 19th Asia Pacific Screen Awards, where 36 films from 32 countries and regions will compete for honours on the Gold Coast. Australian cinematographer Mandy Walker will preside over the international jury.
The future of Asia Pacific cinema is looking increasingly international, collaborative and young.
That is the message emerging from the nominations for the 19th Asia Pacific Screen Awards (APSA), which will bring filmmakers from across the region to Australia’s Gold Coast on October 30 for an evening celebrating some of the most distinctive voices in contemporary world cinema.
Japanese filmmaker Ryusuke Hamaguchi’s All of a Sudden and Nepalese director Abinash Bikram Shah’s Elephants in the Fog lead the field with three nominations apiece, including Best Film and Best Director.
But beyond the frontrunners, this year’s nominations reveal a significant generational shift. An extraordinary 69 per cent of the directors behind nominated films are making their first or second features, while every filmmaker nominated in the Best Youth Film category is a first-time director.
The figures suggest that a new generation of storytellers is finding its voice across a region that encompasses some of the world’s largest and most dynamic film industries.
In total, 36 films representing 32 countries and regions have been nominated, with the winners to be announced at the Gold Coast ceremony.
The awards will be accompanied by the eighth Asia Pacific Screen Forum, running from October 28–30, with internationally acclaimed Australian cinematographer Mandy Walker ASC ACS serving as president of the APSA International Jury.
For an organisation established to champion filmmaking across the Asia Pacific, the nominations also demonstrate the increasingly complex international partnerships required to bring independent cinema to the screen.
Hamaguchi Leads a Diverse Best Film Race
The Best Film competition brings together five productions whose creative teams span continents, languages and cultures.
Hamaguchi’s All of a Sudden, a co-production involving France, Japan, Germany and Belgium, enters the awards with nominations for Best Film, Best Director and Best Performance.
The film continues Hamaguchi’s relationship with APSA, where he has previously been recognised for his filmmaking.
He faces competition from Abinash Bikram Shah’s Elephants in the Fog, a Nepalese-led production involving Germany, Brazil, France and Norway.
Like All of a Sudden, the film has secured nominations for Best Film, Best Director and Best Performance, placing Shah among the year’s most prominent contenders.
The remaining Best Film nominees underline the geographic breadth of the competition.
Afghan filmmaker Shahrbanoo Sadat’s No Good Men, a production involving Germany, France, Norway, Denmark and Afghanistan, has received nominations for Best Film and Best Performance.
Georgian director Levan Koguashvili’s Guria is nominated for Best Film and Best Cinematography, with the production bringing together partners from Georgia, Switzerland, Luxembourg, Bulgaria, Türkiye, Norway and Saudi Arabia.
Completing the field is Thai filmmaker Sompot Chidgasornpongse’s 9 Temples to Heaven, which has earned nominations for Best Film and Best Director.
The film is a particularly striking example of international collaboration, involving production partners from Thailand, Singapore, France, Norway, China, Hong Kong, Indonesia and Qatar.
It also represents a success for the MPA APSA Academy Film Fund, which supported the project in 2021.
Taken together, the five Best Film nominees reflect the increasingly international nature of independent filmmaking, with stories originating in the Asia Pacific frequently relying on financing, production expertise and creative partnerships extending well beyond national borders.
That collaborative spirit is something the Asia Pacific Screen Academy has sought to encourage throughout its history.
A New Generation Takes Centre Stage
While established filmmakers such as Hamaguchi remain central to the awards, one of the most significant developments in the 2026 nominations is the prominence of emerging directors.
Almost seven in ten nominated films come from first- or second-time feature filmmakers.
The trend is particularly pronounced in the Best Youth Film and Best Animated Film categories.
Every Best Youth Film nominee is directed by a first-time filmmaker, while all five nominated animated features involve directors making either their first or second feature.
The Best Director category also reflects this generational transition.
Alongside Hamaguchi, Shah and Chidgasornpongse, the nominees include Myanmar filmmaker Aung Phyoe for Fruit Gathering and Australian documentary director Jennifer Peedom for Tenzing.
Shah, Chidgasornpongse and Phyoe are among the first- and second-time filmmakers competing in the category.
Their inclusion alongside more established directors offers a snapshot of an industry in which emerging voices are increasingly competing for recognition at the highest levels.
It also highlights the role international festivals, development funds and co-production networks play in creating opportunities for filmmakers working outside the world’s dominant commercial film industries.
For the Asia Pacific Screen Academy, the emergence of new talent is central to its broader mission.
The organisation represents a region encompassing 78 countries and areas, a population of approximately 4.5 billion people and an estimated half of the world’s film production.
Yet many of the films emerging from these industries face significant challenges in securing international distribution and recognition.
By bringing established filmmakers and emerging directors together, APSA aims to provide a platform for work that might otherwise struggle to reach audiences beyond its country of origin.
Australian Talent in the Spotlight
Australia will be represented in two major individual categories, with Jennifer Peedom nominated for Best Director and Warwick Thornton recognised for his cinematography.
Peedom, whose credits include Sherpa and Mountain, is nominated for Tenzing, a United States-Australian production.
The nomination continues her association with filmmaking that explores the relationship between human ambition, extraordinary landscapes and the people whose lives are shaped by them.
Peedom is the only Australian director nominated in the Best Director category this year.
Meanwhile, Thornton, one of Australia’s most acclaimed filmmakers and cinematographers, has received a Best Cinematography nomination for Wolfram.
Thornton is recognised alongside Batara Goempar for Four Seasons in Java, Nguyễn Vinh Phúc for Hearing, Gigi Samsonadze and Giorgi Shvelidze for Guria, and Emo Weemhoff for The Burning Giants.
The nominations acknowledge the importance of cinematography in shaping the distinctive visual identities of films emerging from across the region.
Australian involvement also extends to the Best Youth Film category, where the India-Australia co-production Don’t Tell Mother, directed by Anoop Lokkur, is among the nominees.
New Zealand filmmaker Paloma Schneideman’s Big Girls Don’t Cry is also competing in the category.
For Australian screen practitioners, APSA provides an opportunity to engage with filmmakers and industries that are geographically close but often underrepresented in mainstream international film coverage.
Mandy Walker to Lead International Jury
One of the most significant Australian appointments at this year’s awards is the selection of cinematographer Mandy Walker ASC ACS as president of the APSA International Jury.
Walker is among Australia’s most internationally respected cinematographers, with a career spanning major Hollywood productions and Australian cinema.
Her appointment places an experienced practitioner at the centre of the judging process, with APSA emphasising the importance of filmmaking craft and the distinctive visual languages of the nominated productions.
“Watching and celebrating movies from other cultures only enriches our own experiences and views of the world,” Walker said.
“I have the honour to be heading the International Jury this year to recognise the achievements of these talented filmmakers.”
Walker will also participate in the Asia Pacific Screen Forum, presenting a masterclass exploring her career, cinematographic practice, international collaboration and the challenges of sustaining a creative career.
The session will offer delegates an opportunity to hear from a filmmaker whose work has bridged the Australian and international screen industries.
Her involvement reinforces APSA’s emphasis on recognising not only directors and performers but also the technical and creative disciplines that contribute to the filmmaking process.
A Different Approach to Performance
The Best Performance category continues APSA’s practice of recognising acting achievement without separating nominees by gender.
This year’s field includes performers from productions representing Japan, Nepal, Afghanistan, Lebanon and Singapore.
Virginie Efira and Tao Okamato share a nomination for All of a Sudden, reflecting the film’s international ensemble.
Anwar Hashimi is nominated for No Good Men, while Pushpa Thing Lama is recognised for Elephants in the Fog.
The remaining nominees are Ghassan Saad for Pipes and Yeo Yann Yann for Singaporean production We Are All Strangers.
The latter film is another project to have benefited from the MPA APSA Academy Film Fund, receiving support in 2023.
The category’s structure reflects APSA’s commitment to recognising performances across different filmmaking traditions without dividing the competition along conventional gender lines.
It also places actors working in smaller national industries alongside performers from internationally established filmmaking centres.
Animation and Documentary Reflect the Region’s Diversity
The breadth of the nominations becomes particularly apparent in the animation and documentary categories.
The Best Animated Film contenders encompass an unusually wide range of techniques, from sophisticated computer-generated imagery to hand-drawn and woodcut animation.
The nominees are China’s Light Pillar, directed by Xu Zao; Singapore’s Magic Atlas, directed by Sun Xun; A Mighty Adventure, directed by Toe Yuen and representing Taiwan, Malaysia and Hong Kong; The Violinist, directed by Ervin Han and Raúl García; and the Philippines-France production Zsazsa Zaturnnah, directed by Avid Liongoren.
The variety of animation styles reflects the different artistic traditions and production environments operating across the region.
The documentary category is similarly diverse.
Iranian filmmaker Morteza Atabaki’s 32 Meters competes alongside Colors of White Rock, directed by Khoroldorj Choijoovanchig, and Baby Jackfruit Baby Guava, directed by Nhật Quang Nông.
Also nominated are One in a Million, directed by Itab Azzam and Jack MacInness, and Pegah Ahangarani’s Rehearsals for a Revolution.
The five films represent a range of national perspectives and documentary approaches, reflecting the wealth of personal histories and social experiences being explored by nonfiction filmmakers.
For APSA, these categories are an important part of its mission to recognise cinema beyond conventional feature fiction.
The Importance of International Collaboration
If there is a common thread running through this year’s nominations, it is the extent to which international collaboration has become essential to filmmaking across the Asia Pacific.
Many of the nominated productions involve partnerships between several countries, often extending into Europe and the Middle East.
For independent filmmakers, such arrangements can provide access to financing, production expertise, post-production facilities and international distribution networks that may be difficult to secure domestically.
Asia Pacific Screen Academy chair Tracey Vieira said the nominations demonstrated the extraordinary level of collaboration taking place across the region.
“When you look across this year’s nominations, what really stands out is the level of collaboration behind these films,” Vieira said.
“We are seeing filmmakers and creative teams from countries across the Asia Pacific working together, and in many cases partnering with countries well beyond the region, to bring these stories to the screen.”
Vieira said fostering those relationships remained one of the organisation’s defining objectives.
“That is exactly what APSA has always sought to foster. We bring people together, create connections across cultures and borders, and build relationships that can lead to future collaborations.”
She added that seeing the collaborative spirit reflected in the nominated films was particularly rewarding.
The success of projects supported through the MPA APSA Academy Film Fund provides another illustration of the value of early-stage development assistance.
Three fund recipients feature among this year’s nominations.
9 Temples to Heaven received support in 2021, while Sara Ishaq’s The Station, nominated for Best Screenplay, received funding in 2019.
Anthony Chen’s We Are All Strangers, recognised in the Best Performance category, was supported in 2023.
Their nominations demonstrate how development funding can contribute to films that eventually secure recognition on the international festival and awards circuit.
The Gold Coast Becomes a Meeting Place for Filmmakers
Beyond the awards themselves, APSA is placing renewed emphasis on the practical business of developing, financing and distributing films.
The eighth Asia Pacific Screen Forum will run from October 28–30 across several Gold Coast venues, including The Star Gold Coast, Event Cinemas Pacific Fair and Burleigh Brewing.
The three-day program has been designed around a framework of learning, discussion, practical application and professional networking.
Rather than functioning solely as a conference, the forum aims to connect filmmakers with potential collaborators, financiers, distributors and industry advisers.
The program opens on October 28 with sessions exploring sustainable screen industries and responsible storytelling, followed by a structured matchmaking initiative designed to connect filmmakers developing projects with industry decision-makers.
Walker will present her cinematography masterclass on the opening day.
Screen Queensland CEO Jacqui Feeney said the forum would provide valuable opportunities for filmmakers seeking to establish international partnerships.
“Screen Queensland is proud to support the Asia Pacific Screen Forum and welcome filmmakers from across the region to Queensland for three days focused on turning conversations into meaningful opportunities,” Feeney said.
“What is particularly valuable about this year’s program is its practical approach, giving filmmakers opportunities to learn from industry leaders, test and develop their projects, meet potential partners and explore pathways to financing, distribution and international collaboration.”
For Queensland practitioners, the event provides direct access to filmmakers and industry professionals who might otherwise be encountered only at overseas festivals and markets.
The opening evening will also include a special screening of the 1985 Australian film Burke & Wills, accompanied by a tribute to APSA president Jack Thompson AM.
Presented by the National Film and Sound Archive of Australia, the event will feature an introduction and onstage conversation with Thompson.
From Film Financing to Global Distribution
The second day of the forum will focus on the practical realities of international filmmaking.
A session titled How They Built It: Financing & Distributing Three APSA Films will examine the financing structures, production partnerships and market strategies behind nominated projects.
Another discussion, Regional Reels: Inside a Cross-Border Collaboration, will explore the challenges involved in working across different countries and cultures.
The program will consider both the opportunities and complications of international co-production, including cultural negotiation, financing arrangements and long-term professional relationships.
Filmmakers will also participate in Slate & Fate, an industry simulation in which teams must navigate the financing, production, legal and commercial challenges involved in bringing a fictional Asia Pacific feature to the screen.
The exercise culminates in a pitch to a live greenlight panel.
The Motion Picture Association will have an expanded presence at the forum, supporting a three-day program of curated industry connections.
John Gibson, the MPA’s vice president of public affairs and industry relations, will participate in a discussion examining global workforce development, access and professional pathways.
Stephen Jenner, the MPA’s vice president of communications for Asia Pacific, said the organisation was committed to helping filmmakers connect with international industry networks.
“Asia Pacific has an extraordinary wealth of storytelling talent with the potential to connect with audiences around the world,” Jenner said.
“Bringing John Gibson to the Gold Coast gives participants direct access to global perspectives, industry insights and practical conversations that can help open new opportunities throughout their careers.”
The forum will also feature a Youth Pitch Masterclass for Year 10–12 screen and media students, providing an introduction to the process of developing and presenting film, television and web series concepts.
Another practical initiative is the Post Lounge Group Pitch Competition, which will offer a $10,000 development and post-production package to a winning project.
Post Lounge Group managing director Kurt Royan said the competition was intended to help filmmakers turn promising ideas into viable productions.
“A great pitch can be the moment a project shifts from an idea into something with real momentum,” Royan said.
“We want filmmakers to leave the Forum with more than good conversations.”
The forum will conclude with a session examining the projects, partnerships and opportunities generated during the three days before delegates attend the awards ceremony.
A Region Finding Its International Voice
For almost two decades, the Asia Pacific Screen Awards have sought to connect filmmakers across a region whose cultural diversity is matched by the scale of its screen industries.
The 2026 nominations suggest that the organisation’s emphasis on collaboration and emerging talent is increasingly reflected in the films themselves.
From Hamaguchi’s internationally produced All of a Sudden to Shah’s Elephants in the Fog, the Best Film nominees demonstrate how filmmakers are drawing on partnerships that extend far beyond their home countries.
The prominence of first- and second-time directors also suggests that opportunities are opening for filmmakers who might previously have struggled to find international recognition.
For Australian audiences and industry professionals, the awards offer a reminder that some of the most adventurous filmmaking in the world is emerging from countries and cultures relatively close to home.
The Gold Coast’s continuing association with APSA has also helped establish the city as a meeting place for filmmakers from across the region.
Gold Coast Mayor Tom Tate said the partnership had become an important part of the city’s cultural identity.
“The Gold Coast is proud to be a creative crossroads for the Asia Pacific, and APSA is a big part of that story,” Tate said.
“For almost two decades, this partnership has brought the region’s finest filmmakers to our city to connect, collaborate and celebrate great cinema.”
As the industry prepares to gather for the 19th awards ceremony, the nominations offer a compelling picture of contemporary Asia Pacific filmmaking.
Established auteurs are competing alongside first-time directors. National film industries are increasingly connected through international partnerships. And a new generation of filmmakers is finding opportunities to tell stories that might once have remained within their own borders.
The winners will be announced on Friday, October 30, but the larger story emerging from this year’s nominations is already apparent: the future of Asia Pacific cinema is being shaped by filmmakers willing to cross boundaries, both geographical and creative.
And many of them are only just beginning.