Sandra Huller as Sandra and Samuel Theis as her husband Samuel, in Anatomy Of A Fall. Courtesy of Neon
Anatomy Of A Fall begins with a deadly fall but another kind of fall is much of the fascinating, emotionally searing story, starring Sandra Huller, who was so outstanding in Toni Erdman. Huller plays Sandra, the German wife of a French man, Samuel (Samuel Theis) who is killed in a deadly fall from an upper level of their remote Alpine chalet home, a fall that quickly becomes suspicious, with circumstances pointing to the wife. The couple have a son who may or may not be a witness to what happened – if there is indeed a crime. Questions and doubts abound in this excellent drama.
Anatomy Of A Fall won director/writer Justine Triet the Palme d-Or at Cannes, wowing both audiences and critics, and creating considerable awards buzz. Director Justine Triet...
Anatomy Of A Fall begins with a deadly fall but another kind of fall is much of the fascinating, emotionally searing story, starring Sandra Huller, who was so outstanding in Toni Erdman. Huller plays Sandra, the German wife of a French man, Samuel (Samuel Theis) who is killed in a deadly fall from an upper level of their remote Alpine chalet home, a fall that quickly becomes suspicious, with circumstances pointing to the wife. The couple have a son who may or may not be a witness to what happened – if there is indeed a crime. Questions and doubts abound in this excellent drama.
Anatomy Of A Fall won director/writer Justine Triet the Palme d-Or at Cannes, wowing both audiences and critics, and creating considerable awards buzz. Director Justine Triet...
- 10/27/2023
- by Cate Marquis
- WeAreMovieGeeks.com
The coveted Lumière Classics label is today as sought-after in the heritage film industry as any prestigious film festival label for contemporary film fare.
Launched back at the 2019 edition of the Lumière Film Festival, Europe’s leading classic film event, the label was created to showcase a carefully curated selection of restorations of 20th century films with the aim of highlighting the work carried out by archives, cinematheques, rights holders and foundations around the world.
“’Lune Froide’ [‘Cold Moon’] was selected among many other films, so it’s extremely gratifying for us. Lumière is the heritage film festival that fights to restore these films to their former glory and develop the public’s appetite for classic cinema,” explains Anne-Laure Brénéol, co-founder and co-director of Malavida.
The Paris-based niche vintage arthouse movies outfit is bringing two titles to Lumiere this year: 1991 cult movie “Cold Moon” by French actor-director Patrick Bouchitey, and rediscovered gem “Bushman,...
Launched back at the 2019 edition of the Lumière Film Festival, Europe’s leading classic film event, the label was created to showcase a carefully curated selection of restorations of 20th century films with the aim of highlighting the work carried out by archives, cinematheques, rights holders and foundations around the world.
“’Lune Froide’ [‘Cold Moon’] was selected among many other films, so it’s extremely gratifying for us. Lumière is the heritage film festival that fights to restore these films to their former glory and develop the public’s appetite for classic cinema,” explains Anne-Laure Brénéol, co-founder and co-director of Malavida.
The Paris-based niche vintage arthouse movies outfit is bringing two titles to Lumiere this year: 1991 cult movie “Cold Moon” by French actor-director Patrick Bouchitey, and rediscovered gem “Bushman,...
- 10/14/2023
- by Lise Pedersen
- Variety Film + TV
The festival has dropped its international competition in favour of a South Asia focus.
The Jio Mami Mumbai Film Festival has unveiled a South Asia-focused revamp for its first in-person event since 2019, set to run October 27 to November 5.
The festival has dropped its international and India Gold competitions and will launch its first South Asia competitive section as part of a new approach to become a hub for cinema and talent from the region and diaspora.
The 14 films in the South Asia Competition are from first and second-time filmmakers from India, Bangladesh, Bhutan and Nepal as well as diaspora filmmakers from the UK and Germany,...
The Jio Mami Mumbai Film Festival has unveiled a South Asia-focused revamp for its first in-person event since 2019, set to run October 27 to November 5.
The festival has dropped its international and India Gold competitions and will launch its first South Asia competitive section as part of a new approach to become a hub for cinema and talent from the region and diaspora.
The 14 films in the South Asia Competition are from first and second-time filmmakers from India, Bangladesh, Bhutan and Nepal as well as diaspora filmmakers from the UK and Germany,...
- 10/9/2023
- by Michael Rosser
- ScreenDaily
We’ve got the keys to the weekend, Insider fans. Jesse Whittock here guiding you through the international film and TV stories you need to read to top off the working week.
Russell Brand Fallout
Serious allegations: Jake and Max headed to the Rts Cambridge Convention this week, a bi-annual confab bringing together the great-and-the-good of the British TV industry to ruminate and speculate over the future of the sector. But, as is so often the case, events got in the way. In the days leading up, Russell Brand was accused by four women of allegations ranging from rape to sexual assault via a bombshell joint investigation that has been nearly five years in the making from The Times, Sunday Times and Channel 4. The entertainment world was rocked and the BBC, Channel 4 and Big Brother producer Banijay all reacted by launching investigations into historic allegations, while Brand, a one-time man-of-the-moment,...
Russell Brand Fallout
Serious allegations: Jake and Max headed to the Rts Cambridge Convention this week, a bi-annual confab bringing together the great-and-the-good of the British TV industry to ruminate and speculate over the future of the sector. But, as is so often the case, events got in the way. In the days leading up, Russell Brand was accused by four women of allegations ranging from rape to sexual assault via a bombshell joint investigation that has been nearly five years in the making from The Times, Sunday Times and Channel 4. The entertainment world was rocked and the BBC, Channel 4 and Big Brother producer Banijay all reacted by launching investigations into historic allegations, while Brand, a one-time man-of-the-moment,...
- 9/22/2023
- by Jesse Whittock
- Deadline Film + TV
After premiering her Les Filles d’Olfa aka Four Daughters (which was nabbed by the Kino Lorber folks) in the Palme d’Or competition this past May (she won the L’Oeil d’or along with The Mother of All Lies), the Arte France Cinéma selection committee has thrown some coin into Kaouther Ben Hania‘s next project titled Tu ne feras point d’images (English translation: You will not make images). Tanit Films (France), Mime Films (Tunisia), Laika Films (Sweden) will produce. Production is expected to begin in June and July of next year making this highly probable for a Cannes 2025 drop.
This is about Amira, a reserved young woman who studies in Tunis and is passionate about for the cinema.…...
This is about Amira, a reserved young woman who studies in Tunis and is passionate about for the cinema.…...
- 9/20/2023
- by Eric Lavallée
- IONCINEMA.com
Warner Bros. Discovery is projecting huge losses from the impact of writer and actor strikes, but “Barbie” is still around to help them pay bills. It’s hardly news that as Greta Gerwig’s smash hit starts its initial post-theater platform release, it’s #1 on PVOD charts. The real story: that it’s doing so with a hefty premium price.
Gerwig’s #1 theatrical hit worldwide for 2023 (which will end up with around $1.5 billion in theatrical returns) is now renting on PVOD for $24.99, with the option to add it to your digital library permanently for $29.99. Studios recover 80 percent from revenues returned for these transactions, less a small slice for the carrier. That means Warner Bros. Discovery will recoup around $20 for each “Barbie” rental, $25 for each download. It’s a bonanza.
As always, how much actual money is involved with these transactions is not known, but if five million domestic homes rent the film,...
Gerwig’s #1 theatrical hit worldwide for 2023 (which will end up with around $1.5 billion in theatrical returns) is now renting on PVOD for $24.99, with the option to add it to your digital library permanently for $29.99. Studios recover 80 percent from revenues returned for these transactions, less a small slice for the carrier. That means Warner Bros. Discovery will recoup around $20 for each “Barbie” rental, $25 for each download. It’s a bonanza.
As always, how much actual money is involved with these transactions is not known, but if five million domestic homes rent the film,...
- 9/19/2023
- by Tom Brueggemann
- Indiewire
The bread and butter of film festivals is the unveiling of new movies. And in the case of the major festivals taking place in the late summer and early fall — Venice, Telluride, Toronto and New York — the selections offer a preview of potential Oscar nominees and winners. Remember the eight-minute standing ovation Brendan Fraser received last year at Venice for “The Whale”? It kicked off his comeback and journey to a best Oscar win this year.
And with the 50th annual Telluride Film Festival kicking off August 31 at in the picturesque Colorado mountain burg, let’s take the cinematic time machine back 1993 when the fest was a mere 20 years old. John Boorman of “Deliverance” and “Hope and Glory” fame was the guest director of the festival. Jennifer Jason Leigh, then just 31 and whose latest film was Robert Altman’s “Short Cuts,” was honored with a tribute as was socialist British director Ken Loach,...
And with the 50th annual Telluride Film Festival kicking off August 31 at in the picturesque Colorado mountain burg, let’s take the cinematic time machine back 1993 when the fest was a mere 20 years old. John Boorman of “Deliverance” and “Hope and Glory” fame was the guest director of the festival. Jennifer Jason Leigh, then just 31 and whose latest film was Robert Altman’s “Short Cuts,” was honored with a tribute as was socialist British director Ken Loach,...
- 8/31/2023
- by Susan King
- Gold Derby
Cinema in Iran began to blossom in the 1950s and 1960s, kicking off what was to become one of the world's most celebrated national cinemas. What was coined the Iranian New Wave more or less includes films beginning in the 1960s all the way through the early 2010s, which encompasses the bulk of Iranian film history. Filmmaking shifted but did not stop after the 1979 Iranian Revolution, when many artists went into exile and more extreme censorship was imposed. Today, Iranian cinema that reaches the global market has a particular character to it, characterized by directors including Asghar Farhadi and Jafar Panahi, who have received international acclaim for their grounded features depicting the nuances of Iranian society. As such, this list reflects films of this nature.
In chronological order, we examine 6 Iranian films from 6 different Iranian directors that trace the diversity of these movies through the years, examining stories that have...
In chronological order, we examine 6 Iranian films from 6 different Iranian directors that trace the diversity of these movies through the years, examining stories that have...
- 6/18/2023
- by Olivia Popp
- AsianMoviePulse
Mubi has debuted the trailer for Ira Sachs’ intimate drama ‘Passages.’
Set in Paris, this seductive drama tells the story of Tomas (Rogowski) and Martin (Whishaw), a gay couple whose marriage is thrown into crisis when Tomas begins a passionate affair with Agathe (Exarchopoulos), a younger woman he meets after completing his latest film.
Directed by Ira Sachs (Love is Strange, Little Men) and produced by Saïd Ben Saïd (Elle, Bacarau) and Michel Merkt (Toni Erdmann), the film stars BAFTA-winner Ben Whishaw (Skyfall, Paddington, Women Talking), Franz Rogowski (Great Freedom, Transit, Victoria), and Palme d’Or-winner Adèle Exarchopoulos (Blue is the Warmest Colour, The Five Devils).
Also in trailers – That wasn’t me…” John Boyega stars in full trailer for ‘They Cloned Tyrone’
The film will open theatrically in the UK and Ireland on 1 September 2023.
The post Trailer lands for Ira Sachs’ ‘Passages’ appeared first on HeyUGuys.
Set in Paris, this seductive drama tells the story of Tomas (Rogowski) and Martin (Whishaw), a gay couple whose marriage is thrown into crisis when Tomas begins a passionate affair with Agathe (Exarchopoulos), a younger woman he meets after completing his latest film.
Directed by Ira Sachs (Love is Strange, Little Men) and produced by Saïd Ben Saïd (Elle, Bacarau) and Michel Merkt (Toni Erdmann), the film stars BAFTA-winner Ben Whishaw (Skyfall, Paddington, Women Talking), Franz Rogowski (Great Freedom, Transit, Victoria), and Palme d’Or-winner Adèle Exarchopoulos (Blue is the Warmest Colour, The Five Devils).
Also in trailers – That wasn’t me…” John Boyega stars in full trailer for ‘They Cloned Tyrone’
The film will open theatrically in the UK and Ireland on 1 September 2023.
The post Trailer lands for Ira Sachs’ ‘Passages’ appeared first on HeyUGuys.
- 6/16/2023
- by Zehra Phelan
- HeyUGuys.co.uk
Italian filmmaker Alice Rohrwacher’s latest pic La Chimera has inked a series of international deals for The Match Factory following its well-received debut at last month’s Cannes Film Festival.
Starring an ensemble including Josh O’Connor, Isabella Rossellini, and Alba Rohrwacher the pic has sold in the UK and Ireland (Curzon), Australia and New Zealand (Palace Entertainment), Benelux (September Film), Germany (Piffl Medien), Hong Kong (Edko), Spain (Elastica), South Korea (M&m International), China (Jetsen), Japan (Bitters End), and Taiwan (Swallow Wings).
Palme d’Or juggernaut Neon has already taken North American rights. Ad Vitam is a co-producer and distributor in France, while Filmcoopi will be releasing the feature in Switzerland and 01 Distribution in Italy.
Further deals reported today are Austria (Stadtkino), Baltics (A-One), Bulgaria (Art Fest), Cis (Mauris Film), Czech Republic & Slovakia (Aerofilms), Finland (B-Film), Denmark (Filmbazar), Former Yugoslavia (McF), Greece (Cinobo), Hungary (Cirko), Middle East and North...
Starring an ensemble including Josh O’Connor, Isabella Rossellini, and Alba Rohrwacher the pic has sold in the UK and Ireland (Curzon), Australia and New Zealand (Palace Entertainment), Benelux (September Film), Germany (Piffl Medien), Hong Kong (Edko), Spain (Elastica), South Korea (M&m International), China (Jetsen), Japan (Bitters End), and Taiwan (Swallow Wings).
Palme d’Or juggernaut Neon has already taken North American rights. Ad Vitam is a co-producer and distributor in France, while Filmcoopi will be releasing the feature in Switzerland and 01 Distribution in Italy.
Further deals reported today are Austria (Stadtkino), Baltics (A-One), Bulgaria (Art Fest), Cis (Mauris Film), Czech Republic & Slovakia (Aerofilms), Finland (B-Film), Denmark (Filmbazar), Former Yugoslavia (McF), Greece (Cinobo), Hungary (Cirko), Middle East and North...
- 6/7/2023
- by Zac Ntim
- Deadline Film + TV
A small blurb in the Le film français profiling Charles Gillibert (and his prod company CG Cinéma) and the multi-faceted Les Films du Losange reveals that two major auteurs are working on projects that could easily be in the competition section mix for the Palme d’or next year.
The Mauvais Sang, Les Amants du Pont-Neuf and more recently Annette director Leos Carax will not wait a decade between projects — as he is currently in production and its titled C’est pas moi. Is this the same project that connected the filmmaker to Jennifer Lawrence?
Update: Chalk this up for Cannes alright but perhaps the sections not gunning for a Palme.…...
The Mauvais Sang, Les Amants du Pont-Neuf and more recently Annette director Leos Carax will not wait a decade between projects — as he is currently in production and its titled C’est pas moi. Is this the same project that connected the filmmaker to Jennifer Lawrence?
Update: Chalk this up for Cannes alright but perhaps the sections not gunning for a Palme.…...
- 6/6/2023
- by Eric Lavallée
- IONCINEMA.com
Documentary fans might be forgiven for nurturing a dream – that Cannes would follow the recent example of Venice and Berlin and award its top prize to a nonfiction film. Complete the documentary Triple Crown – the Golden Lion, the Golden Bear and the Palme d’or.
Alas, it wasn’t to be. On Saturday night, Cannes gave the gilded frond to a narrative-fiction film, as it generally does, Anatomy of a Fall. But perhaps the important thing is, the jury could have made the trifecta happen. Two documentaries appeared in main competition – Wang Bing’s Jeunesse (Youth) and Kaouther Ben Hania’s Four Daughters (Les Filles d’Olfa) – ending a nearly 20-year span in which no nonfiction film had been accorded the prestige of a competition slot. As they say about the lottery,...
Alas, it wasn’t to be. On Saturday night, Cannes gave the gilded frond to a narrative-fiction film, as it generally does, Anatomy of a Fall. But perhaps the important thing is, the jury could have made the trifecta happen. Two documentaries appeared in main competition – Wang Bing’s Jeunesse (Youth) and Kaouther Ben Hania’s Four Daughters (Les Filles d’Olfa) – ending a nearly 20-year span in which no nonfiction film had been accorded the prestige of a competition slot. As they say about the lottery,...
- 5/30/2023
- by Matthew Carey
- Deadline Film + TV
The growing row around Cannes Palme d’Or winner Justine Triet’s politicized victory speech as she received the coveted award for courtroom drama Anatomy of a Fall spilt into the French Parliament on Tuesday.
Triet used her Cannes victory speech on Saturday to decry the unpopular pensions reforms of President Emmanuel Macron’s government as well as what she described as its neo-liberal approach to culture, suggesting it would make it harder for a new generation of filmmakers to emerge and grow as directors.
Her comments provoked a sharp rebuke from Culture Minister Rima Abdul Malak, who Tweeted she was “flabbergasted” by Triet’s speech, describing it as “unjust”.
“This film would not have seen the light of day without our French cinema finance model, which enables a unique diversity not seen anywhere else in the world,” she wrote.
Related: The Jury Gets It (Mostly) Right In A Terrific Lineup Of Competition Films,...
Triet used her Cannes victory speech on Saturday to decry the unpopular pensions reforms of President Emmanuel Macron’s government as well as what she described as its neo-liberal approach to culture, suggesting it would make it harder for a new generation of filmmakers to emerge and grow as directors.
Her comments provoked a sharp rebuke from Culture Minister Rima Abdul Malak, who Tweeted she was “flabbergasted” by Triet’s speech, describing it as “unjust”.
“This film would not have seen the light of day without our French cinema finance model, which enables a unique diversity not seen anywhere else in the world,” she wrote.
Related: The Jury Gets It (Mostly) Right In A Terrific Lineup Of Competition Films,...
- 5/30/2023
- by Melanie Goodfellow
- Deadline Film + TV
Just like last year, critics are quibbling with the film awarded the Palme d’Or. Not that there’s active dislike for Justine Triet’s “Anatomy of a Fall,” but the Palme d’Or winner topped a different category in the survey IndieWire sent to critics from all over the world. This time, 60 reviewers and journalists participated, with five continents represented.
Nearly half of all 60 voted for Jonathan Glazer’s loose Martin Amis adaptation, Holocaust drama “The Zone of Interest”: 29 of the critics voted for it for Best Film. That’s a divergence with the Competition jury, which voted “Zone of Interest” the Grand Prix while “Anatomy of a Fall” took the Palme. The second title for Best Film chosen by the critics only received six votes, showing the intensity of enthusiasm for the Glazer film. That second title was Aki Kaurismaki’s “Fallen Leaves,” with “Anatomy of a Fall...
Nearly half of all 60 voted for Jonathan Glazer’s loose Martin Amis adaptation, Holocaust drama “The Zone of Interest”: 29 of the critics voted for it for Best Film. That’s a divergence with the Competition jury, which voted “Zone of Interest” the Grand Prix while “Anatomy of a Fall” took the Palme. The second title for Best Film chosen by the critics only received six votes, showing the intensity of enthusiasm for the Glazer film. That second title was Aki Kaurismaki’s “Fallen Leaves,” with “Anatomy of a Fall...
- 5/30/2023
- by Christian Blauvelt
- Indiewire
It’s been a whirlwind two weeks, and as relieved as attendees and observers around the world are that the 2023 edition of Cannes has come to a close, we’re already eager for next year’s. Though too much attention may have been paid to the wrong things – controversies regarding the opening night selection, “Jeanne du Barry,” and altercations with police over bicycles come to mind – cinema and its celebration ultimately took centerstage. By most accounts, 2023 was an improvement over two (understandably) subdued years.
This year’s Main Competition jury was headed by two-time Palme winner Ruben Östlund (“Triangle of Sadness”) and co-jurored by Julia Ducournau (“Titane”), Paul Dano, Brie Larson, Denis Ménochet (recently seen in “Beau is Afraid”), Atiq Rahimi (“Our Lady of the Nile”), Damián Szifron (“Wild Tales” and this year’s “To Catch a Killer”), Rungano Nyoni (“I Am Not a Witch”) and Maryam Touzani (“The Blue Caftan...
This year’s Main Competition jury was headed by two-time Palme winner Ruben Östlund (“Triangle of Sadness”) and co-jurored by Julia Ducournau (“Titane”), Paul Dano, Brie Larson, Denis Ménochet (recently seen in “Beau is Afraid”), Atiq Rahimi (“Our Lady of the Nile”), Damián Szifron (“Wild Tales” and this year’s “To Catch a Killer”), Rungano Nyoni (“I Am Not a Witch”) and Maryam Touzani (“The Blue Caftan...
- 5/28/2023
- by Ronald Meyer and Denton Davidson
- Gold Derby
Winners of the 2023 Cannes Film Festival awards, including the coveted Palme d'Or, were revealed at a glamorous ceremony in Cannes, France this weekend. The awards included many of my favorite films at the festival, though my top pick didn't end up with the Palme. French filmmaker Justine Triet took home the top prize - her new film Anatomy of a Fall won the Palme d'Or this year, following up Ruben Ostlund's second Palme win for The Triangle of Sadness last year. A number of other critics picks also won awards: The Zone of Interest won the Grand Prix (second place) though it really should've taken home the Palme instead. Aki Kaurismäki's delightful romantic charmer Fallen Leaves won the Jury Prize. My favorite win of the night went to the Japanese actor Kōji Yakusho, who is transcendent in the poetic drama Perfect Days. All-in-all a solid amount of best...
- 5/28/2023
- by Alex Billington
- firstshowing.net
As relieved as attendees and observers around the world are that the 2023 edition of Cannes has come to a close, we’re already eager for next year’s. Though too much attention may have been paid to the wrong things – controversies regarding the opening night selection, “Jeanne du Barry,” and altercations with police over bicycles come to mind – cinema and its celebration ultimately took centerstage. By most accounts, 2023 was an improvement over two (understandably) subdued years.
This year’s Main Competition jury was headed by two-time Palme winner Ruben Östlund (“Triangle of Sadness”) and co-jurored by Julia Ducournau (“Titane”), Paul Dano, Brie Larson, Denis Ménochet (recently seen in “Beau is Afraid”), Atiq Rahimi (“Our Lady of the Nile”), Damián Szifron (“Wild Tales” and this year’s “To Catch a Killer”), Rungano Nyoni (“I Am Not a Witch”) and Maryam Touzani (“The Blue Caftan”). The Un Certain Regard series was presided over by John C. Reilly.
This year’s Main Competition jury was headed by two-time Palme winner Ruben Östlund (“Triangle of Sadness”) and co-jurored by Julia Ducournau (“Titane”), Paul Dano, Brie Larson, Denis Ménochet (recently seen in “Beau is Afraid”), Atiq Rahimi (“Our Lady of the Nile”), Damián Szifron (“Wild Tales” and this year’s “To Catch a Killer”), Rungano Nyoni (“I Am Not a Witch”) and Maryam Touzani (“The Blue Caftan”). The Un Certain Regard series was presided over by John C. Reilly.
- 5/28/2023
- by Ronald Meyer and Denton Davidson
- Gold Derby
The 76th edition of the Cannes Film Festival came to a close on Saturday, May 27 after two weeks of films, celebrities, parties and interviews in the small city on the French Riviera. Now that the prizes have been given out, we can start looking at what could be top contenders for next year’s Oscars. Let’s analyze the results from this year’s festival and see this history that each category has when it comes to the Academy Awards.
Over the past several years the festival has been a springboard for major players in the Oscar derby. We’ve really seen it be an influence in the International Feature category where in-competition films have been nominated a regular basis. Recent Cannes films that ended up being top awards contenders in above the line categories include “Triangle of Sadness,” “Drive My Car,” “Parasite,” “Once Upon a Time in Hollywood” and “BlacKkKlansman.
Over the past several years the festival has been a springboard for major players in the Oscar derby. We’ve really seen it be an influence in the International Feature category where in-competition films have been nominated a regular basis. Recent Cannes films that ended up being top awards contenders in above the line categories include “Triangle of Sadness,” “Drive My Car,” “Parasite,” “Once Upon a Time in Hollywood” and “BlacKkKlansman.
- 5/28/2023
- by Charles Bright
- Gold Derby
by Nathaniel R
Jane Fonda handed the Palme to Justine Triet "Anatomy of a Fall". Photo © Andreas Rentz / Getty Images
The 76th edition of Cannes has wrapped. The closing ceremony brought an end to a week plus of speculation about prizes. French auteur Justine Triet, of Sybiil fame, took the coveted Palme d'Or for her fourth narrative feature, Anatomy of a Fall. She's only the third female director to win the prize (after Jane Campion for The Piano and Julia Ducornau for Titane) though the fifth woman (Actresses Léa Seydoux and Adele Exarchopolous shared the Palme with their director in a non-traditional jury decision the year of Blue is the Warmest Colour).
A whole slew of awards are after the jump...
Jane Fonda handed the Palme to Justine Triet "Anatomy of a Fall". Photo © Andreas Rentz / Getty Images
The 76th edition of Cannes has wrapped. The closing ceremony brought an end to a week plus of speculation about prizes. French auteur Justine Triet, of Sybiil fame, took the coveted Palme d'Or for her fourth narrative feature, Anatomy of a Fall. She's only the third female director to win the prize (after Jane Campion for The Piano and Julia Ducornau for Titane) though the fifth woman (Actresses Léa Seydoux and Adele Exarchopolous shared the Palme with their director in a non-traditional jury decision the year of Blue is the Warmest Colour).
A whole slew of awards are after the jump...
- 5/27/2023
- by NATHANIEL R
- FilmExperience
At least once, I can say the winners of the 2023 Cannes Film Festival competition are actually the right ones. Maybe not exactly in the order I would have put them, but still, out of the 21 movies competing, it is hard to argue about almost all of the choices made by the Ruben Ostlund-led jury that, among others, included Americans Brie Larson and Paul Dano. I said almost.
I was a little worried as I watched the red carpet arrivals to tonight’s ceremony at the Grand Lumiere Theatre, because you can always tell who is getting a prize and who isn’t by who is actually showing up. The fest’s Thierry Fremaux gets the list late from the jury and then informs those who may be getting an award that it would be wise to show up.
When I saw Turkish director Nuri Bilge Ceylan very prominently photographed,...
I was a little worried as I watched the red carpet arrivals to tonight’s ceremony at the Grand Lumiere Theatre, because you can always tell who is getting a prize and who isn’t by who is actually showing up. The fest’s Thierry Fremaux gets the list late from the jury and then informs those who may be getting an award that it would be wise to show up.
When I saw Turkish director Nuri Bilge Ceylan very prominently photographed,...
- 5/27/2023
- by Pete Hammond
- Deadline Film + TV
If there was an award for the savviest U.S. distributor at the Cannes Film Festival, it would have to go to Neon, which scored its fourth consecutive Palme d’Or at the conclusion of the 76th edition on Saturday. The top prize went to French director Justine Triet for “Anatomy of a Fall,” a murder mystery and courtroom drama starring Sandra Hüller that Neon acquired shortly after its festival premiere on Tuesday.
In the two weeks leading up to the end of this year’s festival, critical consensus focused on “The Zone of Interest,” Jonathan Glazer’s austere riff on Martin Amis’ novel about the commander of Auschwitz. As a result, many assumed it would be an obvious choice for the Palme.
But critics don’t pick that prize; the jury is composed of filmmakers and actors who tend to land on a consensus choice for the top prize...
In the two weeks leading up to the end of this year’s festival, critical consensus focused on “The Zone of Interest,” Jonathan Glazer’s austere riff on Martin Amis’ novel about the commander of Auschwitz. As a result, many assumed it would be an obvious choice for the Palme.
But critics don’t pick that prize; the jury is composed of filmmakers and actors who tend to land on a consensus choice for the top prize...
- 5/27/2023
- by Eric Kohn
- Indiewire
Cannes – The 2023 Cannes Film Festival has come to an end and that means the Palme d’Or winner has finally been revealed. Presented by jury president Ruben Östlund and special guest Jane Fonda, the honor went to Justine Triet’s “Anatomy of a Fall.” Recently acquired by Neon, it becomes the independent distributors fourth Palme winner over the past four years after “Titane,””Triangle of Sadness,” and Best Picture winner, “Parasite.”
Read More: “The Zone of Interest” Review: Jonathan Glazer’s often brilliant examination of human complicity [Cannes]
Tried becomes just the second woman in the 76-year history of the festival to win the Palme after “The Piano’s” Jane Campion and “Titane’s” Julia Ducournau.
Continue reading ‘Anatomy Of A Fall’ Wins Palme d’Or At 2023 Cannes Film Festival at The Playlist.
Read More: “The Zone of Interest” Review: Jonathan Glazer’s often brilliant examination of human complicity [Cannes]
Tried becomes just the second woman in the 76-year history of the festival to win the Palme after “The Piano’s” Jane Campion and “Titane’s” Julia Ducournau.
Continue reading ‘Anatomy Of A Fall’ Wins Palme d’Or At 2023 Cannes Film Festival at The Playlist.
- 5/27/2023
- by Gregory Ellwood
- The Playlist
Justine Triet’s complex drama “Anatomy of a Fall” has won the Palme d’Or at the 2023 Cannes Film Festival, a jury headed by director Ruben Ostlund announced on Saturday evening in France. Jane Fonda presented the award to Triet, who became only the third woman to win the Palme, after Jane Campion for “The Piano” in 1993 and Julia Ducournau for “Titane” in 2021.
The film was acquired by Neon during the festival, which makes it the fourth consecutive Palme for that company after “Parasite,” “Titane” and “The Triangle of Sadness.”
“Part thorny family story, part whodunit, part courtroom drama and part meditation on the nature of truth and fiction, Justine Triet’s ‘Anatomy of a Fall’ takes two hours of conversations and makes them both provocative and propulsive,” wrote TheWrap in its review.
The Grand Prix, which is essentially Cannes’ second-place award, was given to the chilling Holocaust drama “The Zone of Interest...
The film was acquired by Neon during the festival, which makes it the fourth consecutive Palme for that company after “Parasite,” “Titane” and “The Triangle of Sadness.”
“Part thorny family story, part whodunit, part courtroom drama and part meditation on the nature of truth and fiction, Justine Triet’s ‘Anatomy of a Fall’ takes two hours of conversations and makes them both provocative and propulsive,” wrote TheWrap in its review.
The Grand Prix, which is essentially Cannes’ second-place award, was given to the chilling Holocaust drama “The Zone of Interest...
- 5/27/2023
- by Steve Pond
- The Wrap
by Cláudio Alves
Just as the favorites for the Palme d'Or seemed to have settled, here comes another barrage of rave reviews to muddy the waters. Not only is it impossible to predict what Östlund's jury will choose, but it seems like, every day, the critics elect a new title to champion. On the ninth day of the festivities, Trần Anh Hùng's Pot-au-Feu dazzled many with its gastronomic love affair, making comparisons to Babette's Feast. Then came Nanni Moretti's A Brighter Tomorrow, less acclaimed but blessed by enthusiast defenders. On the 10th day of Cannes, it was time for Wim Wenders' Perfect Days to ignite Best Actor speculation, while Catherine Breillat's Queen of Hearts remake became another instant frontrunner for the big prize. Will Last Summer take the Palme?
For the Cannes at Home series, the focus shall be on these auteurs' past festival successes. The...
Just as the favorites for the Palme d'Or seemed to have settled, here comes another barrage of rave reviews to muddy the waters. Not only is it impossible to predict what Östlund's jury will choose, but it seems like, every day, the critics elect a new title to champion. On the ninth day of the festivities, Trần Anh Hùng's Pot-au-Feu dazzled many with its gastronomic love affair, making comparisons to Babette's Feast. Then came Nanni Moretti's A Brighter Tomorrow, less acclaimed but blessed by enthusiast defenders. On the 10th day of Cannes, it was time for Wim Wenders' Perfect Days to ignite Best Actor speculation, while Catherine Breillat's Queen of Hearts remake became another instant frontrunner for the big prize. Will Last Summer take the Palme?
For the Cannes at Home series, the focus shall be on these auteurs' past festival successes. The...
- 5/26/2023
- by Cláudio Alves
- FilmExperience
Tommy Joe Ballantyne (Dave Turner), the central character in Ken Loach’s “The Old Oak,” is a middle-aged landlord and proprietor of a pub that sits near the bottom of a sloped street of working-class row houses. We’re in an unnamed village in the northeast of England, and the pub, called the Old Oak, has seen better days. So has Tommy, who’s known as Tj. Dave Turner, the very good actor who plays him, resembles a bone-weary cross between John C. Reilly and Michael Moore. There’s a sweet-souled directness to his sad prole stare, and he treats his customers, some of whom he has known since they were in grade school together, with quiet affection and respect. But the pub is falling apart, and the property values in the neighborhood have plunged. Tj is barely scraping by serving pints of ale.
In Boston, I knew a bartender...
In Boston, I knew a bartender...
- 5/26/2023
- by Owen Gleiberman
- Variety Film + TV
British director Ken Loach has always had his finger on the pulse of his country’s simmering socioeconomic situation, especially when it concerns the plight of the working class. It’s no surprise, then, that for his latest feature — the 27th for the 86-year-old filmmaker, who made his first movie, Poor Cow, all the way back in 1967 — he’s decided to tackle two issues not only at the forefront of U.K. politics, but most of Europe and the U.S. as well.
Compassionate if a bit schematic at times, The Old Oak is a ripped-from-the-headlines story about Syrian refugees arriving in a failing blue-collar town in northern England, and the anger it provokes among certain residents looking for a scapegoat to pin their problems on. You could make virtually the same movie about Central Americans arriving in Texas, or Sub-Saharan Africans arriving in France, so much are immigration and...
Compassionate if a bit schematic at times, The Old Oak is a ripped-from-the-headlines story about Syrian refugees arriving in a failing blue-collar town in northern England, and the anger it provokes among certain residents looking for a scapegoat to pin their problems on. You could make virtually the same movie about Central Americans arriving in Texas, or Sub-Saharan Africans arriving in France, so much are immigration and...
- 5/26/2023
- by Jordan Mintzer
- The Hollywood Reporter - Movie News
At the start of the 2023 Cannes Film Festival, Swedish director Ruben Östlund told a roomful of journalists that he would rather win his third Palme d’Or than an Oscar. For this year, at least, the previous Cannes winner for “Triangle of Sadness” and “The Square” will have to settle for handing the Palme d’Or to someone else.
As the president of this year’s jury for the Official Competition of the 76th festival, Ostlund is leading a team of nine writers, directors, and actors (as well as two writer-director-actors): Fellow Palme d’Or winner Julia Ducournau (“Titane”), Brie Larson, Zambian filmmaker Rungano Nyoni, Moroccan filmmaker Maryam Touzani, Paul Dano, French actor Denis Ménochet, Afghan director Atiq Rahimi, and Argentinian director Damián Szifron. The group will spend the festival watching two to three competition films per day, and Ostlund has said that they will gather to deliberate every...
As the president of this year’s jury for the Official Competition of the 76th festival, Ostlund is leading a team of nine writers, directors, and actors (as well as two writer-director-actors): Fellow Palme d’Or winner Julia Ducournau (“Titane”), Brie Larson, Zambian filmmaker Rungano Nyoni, Moroccan filmmaker Maryam Touzani, Paul Dano, French actor Denis Ménochet, Afghan director Atiq Rahimi, and Argentinian director Damián Szifron. The group will spend the festival watching two to three competition films per day, and Ostlund has said that they will gather to deliberate every...
- 5/26/2023
- by Eric Kohn
- Indiewire
Only nine directors have ever won the Palme d’Or twice. Francis Ford Coppola did it in the ’70s with The Conversation and Apocalypse Now. Ruben Östlund joined the club last year after following The Square with Triangle of Sadness. But this year, there is a very real possibility that, at 86, Ken Loach may go above and beyond that by winning a third Palme for his new film, The Old Oak. Loach first won in 2006 with the historical Irish drama The Wind That Shakes the Barley, then doubled up in 2016 with I, Daniel Blake, a caustic study of Britain’s healthcare crisis. After that came Sorry, We Missed You, a no-less withering look at the punitive gig economy. Like the latter two films, The Old Oak is set in the North East of England and completes an unofficial trilogy, this time with a slightly more optimistic bent. Like all of...
- 5/26/2023
- by Damon Wise
- Deadline Film + TV
Bonjour, Insiders. Jesse Whittock here to guide you through a whirlwind week in film and television. Cannes is nearly over, while we’ve got the latest twist in the ongoing U.S. labor disputes, which could have worldwide ramifications. Read on and don’t forget to subscribe here.
No Assurance Of Insurance Joaquin Phoenix, Rooney Mara and Pawel Pawlikowski
Broken bonds: Andreas broke one of the biggest stories of the year Tuesday. His scoop about the shut down of Pawel Pawlikowski’s Joaquin Phoenix and Rooney Mara-starrer The Island revealed a new problem for the indie film sector: bond companies are refusing to insure movies due to impending SAG-AFTRA and DGA action. The Island’s producers found this out the hard way, as they were told the film couldn’t be bonded on the eve of shooting in Spain. Joker star Phoenix and Mara (Carol), both SAG-AFTRA card carriers, were...
No Assurance Of Insurance Joaquin Phoenix, Rooney Mara and Pawel Pawlikowski
Broken bonds: Andreas broke one of the biggest stories of the year Tuesday. His scoop about the shut down of Pawel Pawlikowski’s Joaquin Phoenix and Rooney Mara-starrer The Island revealed a new problem for the indie film sector: bond companies are refusing to insure movies due to impending SAG-AFTRA and DGA action. The Island’s producers found this out the hard way, as they were told the film couldn’t be bonded on the eve of shooting in Spain. Joker star Phoenix and Mara (Carol), both SAG-AFTRA card carriers, were...
- 5/26/2023
- by Jesse Whittock
- Deadline Film + TV
The very first winner of the Palme d’Or in 1955 was future Best Picture Oscar winner Marty, which starred Ernest Borgnine and Betsy Blair as two lonely middle-age adults beginning a tentative relationship in search of love. Before it was called the Palme d’Or, the top Cannes prize known then as the Grand Prix, went in 1946 at the festival’s beginning to David Lean’s Brief Encounter, also the story of two adults who meet by chance and get together.
Both of those Cannes Classics have something inherently in common with Aki Kaurismaki’s wonderful, wryly funny, and poignant new film, Fallen Leaves, which premiered today at Cannes, the latest Competition entry for the master Finnish filmmaker who was last in the run for the Palme d’Or with 2011’s equally great Le Havre. Despite several Eumenical prizes at the fest over the years, Kaurismaki only came close to...
Both of those Cannes Classics have something inherently in common with Aki Kaurismaki’s wonderful, wryly funny, and poignant new film, Fallen Leaves, which premiered today at Cannes, the latest Competition entry for the master Finnish filmmaker who was last in the run for the Palme d’Or with 2011’s equally great Le Havre. Despite several Eumenical prizes at the fest over the years, Kaurismaki only came close to...
- 5/22/2023
- by Pete Hammond
- Deadline Film + TV
Kirsten Niehuus, CEO at Medienboard Berlin-Brandenburg, which funds films and TV series production in the Berlin region, and Simone Baumann, managing director of German Films, which promotes and supports the release of German films abroad, welcomed a wide array of guests to their garden party at the Cannes Film Festival on Saturday.
Three Medienboard-funded films are in this year’s Competition: Tunisian director Kaouther Ben Hania’s “Four Daughters,” Austrian filmmaker Jessica Hausner’s “Club Zero,” and U.S. helmer Wes Anderson’s “Asteroid City.”
Niehuus told Variety: “Those are three very different productions, but it shows the spectrum [of films] that Medienboard supports.” Tunisian films, like “Four Daughters,” need international co-production funding to get made, she said, and “we believe in world cinema, so were very happy [to back it].” Hausner is “one of the most impressive female filmmakers [in the world], and I think there should be more female filmmakers on the Croisette and every other ‘A’ festival,...
Three Medienboard-funded films are in this year’s Competition: Tunisian director Kaouther Ben Hania’s “Four Daughters,” Austrian filmmaker Jessica Hausner’s “Club Zero,” and U.S. helmer Wes Anderson’s “Asteroid City.”
Niehuus told Variety: “Those are three very different productions, but it shows the spectrum [of films] that Medienboard supports.” Tunisian films, like “Four Daughters,” need international co-production funding to get made, she said, and “we believe in world cinema, so were very happy [to back it].” Hausner is “one of the most impressive female filmmakers [in the world], and I think there should be more female filmmakers on the Croisette and every other ‘A’ festival,...
- 5/22/2023
- by Leo Barraclough
- Variety Film + TV
A film festival as large as Cannes is always a study in contradictions, but the first six days of the 2023 edition feel particularly schizophrenic as the fest has veered between sentimental celebration and unsentimental artistry.
Both were on display in the festival’s biggest premiere so far, when Martin Scorsese’s monumental “Killers of the Flower Moon” had its debut in front of a delirious crowd at the Grand Theatre Lumiere on Saturday night. The invitation-only, black-tie audience was there to celebrate Scorsese, who first came to Cannes in 1976 with “Taxi Driver,” greeting him as a conquering hero and giving him a lengthy and emotional standing ovation that didn’t stop until he left the theater.
His film, meanwhile, was a hard-eyed and epic-length examination of the systematic murder of Native Americans from the Osage nation by whites looking to take the tribe’s oil money; the film’s biggest stars,...
Both were on display in the festival’s biggest premiere so far, when Martin Scorsese’s monumental “Killers of the Flower Moon” had its debut in front of a delirious crowd at the Grand Theatre Lumiere on Saturday night. The invitation-only, black-tie audience was there to celebrate Scorsese, who first came to Cannes in 1976 with “Taxi Driver,” greeting him as a conquering hero and giving him a lengthy and emotional standing ovation that didn’t stop until he left the theater.
His film, meanwhile, was a hard-eyed and epic-length examination of the systematic murder of Native Americans from the Osage nation by whites looking to take the tribe’s oil money; the film’s biggest stars,...
- 5/22/2023
- by Steve Pond
- The Wrap
Palme d'Or winner 'The Square' with Claes Bang: 'Gobsmackingly weird' Cannes Film Festival favorite may have a tough time landing a Best Foreign Language Film Academy Award nomination. Ruben Östlund's comedy-drama is totally unrelated to Jehane Noujaim's 2013 Oscar-nominated political documentary of the same title, which refers to downtown Cairo's Tahrir Square. Cannes' Palme d'Or winner 'The Square' & other Official Competition favorites' Oscar chances Screenwriter-director Ruben Östlund's The Square was the Palme d'Or winner at the 2017 Cannes Film Festival, which wrapped up on May 28. (See list of Palme d'Or and other 2017 Cannes winners further below.) Clocking in at about 2 hours and 20 minutes, Östlund's unusual comedy-drama revolving around the chaotic p.r. campaign to promote the opening of the titular installation – a symbolic square of light – at a contemporary art museum in Stockholm has been generally well-received by critics. In the opinion of The Guardian's Peter Bradshaw,...
- 6/21/2017
- by Steph Mont.
- Alt Film Guide
Ruben Östlund: “Give me a break.”
In the press conference following The Square winning the Palme d’Or at the Cannes Film Festival, director Ruben Östlund spoke about the film’s two hour-plus run time.
Clocking in at 142 minutes, it stars Claes Bang as a museum director whose life goes downhill after an ill-judged PR stunt to promote a piece of performance art called The Square.
Östlund was asked about the running time by reporters.
“Give me a break,” he said. “We subject children to Harry Potter [and] that is over 2 and a half hours. We watch theatre that is over three hours long. Yes, I understand there is a certain time slot for distributors but really, I think it is silly.
“If we want cinema to be alive, then we have to focus on different ways to tell a story.”
Östlund also spoke about the importance of winning the Palme d’Or. “Winning this brings...
In the press conference following The Square winning the Palme d’Or at the Cannes Film Festival, director Ruben Östlund spoke about the film’s two hour-plus run time.
Clocking in at 142 minutes, it stars Claes Bang as a museum director whose life goes downhill after an ill-judged PR stunt to promote a piece of performance art called The Square.
Östlund was asked about the running time by reporters.
“Give me a break,” he said. “We subject children to Harry Potter [and] that is over 2 and a half hours. We watch theatre that is over three hours long. Yes, I understand there is a certain time slot for distributors but really, I think it is silly.
“If we want cinema to be alive, then we have to focus on different ways to tell a story.”
Östlund also spoke about the importance of winning the Palme d’Or. “Winning this brings...
- 5/28/2017
- ScreenDaily
In the opening minutes of Josh and Benny Safdie’s “Good Time,” Robert Pattinson bursts into the room and it’s clear he’s trying something different. With his black hair tousled above an angry stare and a silvery earring peering out from one side, he’s a scruffy, irrepressible ball of fury, eager to fix a problem and on the verge of making it worse. He’s abrasive, clumsy and a little bit fearsome. In other words: He’s in a Safdie brothers movie.
Anyone familiar with the sibling directors from their dreary NYC junkie drama “Heaven Knows What” or gritty urban comedy “Daddy Longlegs” knows how the brothers have assembled a universe of grimy characters enmeshed in bizarre, dangerous circumstances that can seem at once naturalistic and surreal. With “Good Time,” they transform that focus into a Kafkaesque heist movie, populated by maniacal characters careening through Queens on...
Anyone familiar with the sibling directors from their dreary NYC junkie drama “Heaven Knows What” or gritty urban comedy “Daddy Longlegs” knows how the brothers have assembled a universe of grimy characters enmeshed in bizarre, dangerous circumstances that can seem at once naturalistic and surreal. With “Good Time,” they transform that focus into a Kafkaesque heist movie, populated by maniacal characters careening through Queens on...
- 5/25/2017
- by Eric Kohn
- Indiewire
Every week, IndieWire asks a select handful of film and TV critics two questions and publishes the results on Monday. (The answer to the second, “What is the best film in theaters right now?”, can be found at the end of this post.)
This week’s question: In honor of the Cannes Film Festival, the 70th edition of which starts this week, what is the best film to ever win the coveted Palme d’Or?
For a complete list of Palme d’Or winners, click here.
Erin Whitney (@Cinemabite), ScreenCrush
This question is impossible because I clearly haven’t seen all 40 Palme d’Or winners (it’s on my to do list, I swear). But I could easily say “Apocalypse Now,” “Paris, Texas,” “Taxi Driver,” “Amour,” or even “Pulp Fiction.” But since this is a personal question, I have to say “The Tree of Life.” No film has moved me...
This week’s question: In honor of the Cannes Film Festival, the 70th edition of which starts this week, what is the best film to ever win the coveted Palme d’Or?
For a complete list of Palme d’Or winners, click here.
Erin Whitney (@Cinemabite), ScreenCrush
This question is impossible because I clearly haven’t seen all 40 Palme d’Or winners (it’s on my to do list, I swear). But I could easily say “Apocalypse Now,” “Paris, Texas,” “Taxi Driver,” “Amour,” or even “Pulp Fiction.” But since this is a personal question, I have to say “The Tree of Life.” No film has moved me...
- 5/15/2017
- by David Ehrlich
- Indiewire
A heightened sense of anticipation pervades the days leading up to the 70th anniversary of Cannes Film Festival as we arrange screenings and parties and meetings for an adrenaline filled ten days. May 17 to 28 will be full of surprises as this unique high energy mix of glamour, work, fun and stress unfolds. A broad range of distinctive films in Competition, Un Certain Regard, Directors Fortnight (Quainzaine des realisateurs) and Critics Week (La Semaine de la critique), L’Acid compete with parties from cocktails sponsored by all the countries that are here (60+ including Armenia, Nigeria, Kazakhstan and Singapore) and with late night extravanzas on yachts and at villas in the hills.Claudia Dances! Claudia Laughs! Claudia Lives!
This year’s poster portrays Claudia Cardinale dancing on a fiery red background. The Italian actress moved to Paris a long time ago. As the Cannes Muse this year, her musings illuminate the terrific...
This year’s poster portrays Claudia Cardinale dancing on a fiery red background. The Italian actress moved to Paris a long time ago. As the Cannes Muse this year, her musings illuminate the terrific...
- 5/12/2017
- by Sydney Levine
- Sydney's Buzz
The 27th edition of the Stockholm International Film Festival (Nov 9 - 20) will present 200 films from 70 countries.
The Stockholm International Film Festival will kick-off with Ken Loach’s Palme d’Or winner I, Daniel Blake, followed by a mid-festival ‘middle film’ screening in the shape of Nate Parker’s Birth of A Nation, and will close with Kenneth Lonergan’s Manchester By The Sea.
Directors attending the festival include Francis Ford Coppola (who will receive the lifetime achievement award, present a public talk, and screen Apocalypse Now), Ken Loach, Francois Ozon (who receives the festival’s Visionary Award), Ira Sachs, Alice Lowe, Mark Cousins, Anne Fontaine, Gabe Klinger, and many more.
The festival’s main competition line-up is:
A Decent Woman by Lukas Valenta Rinner (Arg, S Kor, Aus)A Taste Of Ink by Morgan Simon (Fr)Albüm by Mehmet Can Mertoğlu (Tur, Fr, Rom)Are We Not Cats by Xander Robin (Us)Birth Of A Nation by [link...
The Stockholm International Film Festival will kick-off with Ken Loach’s Palme d’Or winner I, Daniel Blake, followed by a mid-festival ‘middle film’ screening in the shape of Nate Parker’s Birth of A Nation, and will close with Kenneth Lonergan’s Manchester By The Sea.
Directors attending the festival include Francis Ford Coppola (who will receive the lifetime achievement award, present a public talk, and screen Apocalypse Now), Ken Loach, Francois Ozon (who receives the festival’s Visionary Award), Ira Sachs, Alice Lowe, Mark Cousins, Anne Fontaine, Gabe Klinger, and many more.
The festival’s main competition line-up is:
A Decent Woman by Lukas Valenta Rinner (Arg, S Kor, Aus)A Taste Of Ink by Morgan Simon (Fr)Albüm by Mehmet Can Mertoğlu (Tur, Fr, Rom)Are We Not Cats by Xander Robin (Us)Birth Of A Nation by [link...
- 10/18/2016
- by wendy.mitchell@screendaily.com (Wendy Mitchell)
- ScreenDaily
On the Milky Road
Director: Emir Kusturica
Writer: Emir Kusturica
We’ve pegged Serbian auteur Emir Kusturica‘s On the Milky Road as a possible release for the past three years. The two time Palme d’Or winner (Time of the Gypsies in 1998; Underground in 1995) hasn’t completed a feature since 2007’s Promise Me This. His long gestating latest is based on his short film Our Life and “unfolds as a three-part narrative recounting three periods in the life of a man (Kusturica): his time as a lucky milkman during the war, perilous escapades and blossoming romance with the woman he loves (Bellucci), and his later life as a monk, looking back over the tumultuous past – both his and his country’s.”
Cast: Emir Kusturica, Monica Bellucci
Production Co./Producers: Ag Studios’Alex Garcia, Bn Films’ Lucas Akoskin, Pinball London’s Paula Vaccaro, Rasta Intl’s Emir Kusturica.
U.
Director: Emir Kusturica
Writer: Emir Kusturica
We’ve pegged Serbian auteur Emir Kusturica‘s On the Milky Road as a possible release for the past three years. The two time Palme d’Or winner (Time of the Gypsies in 1998; Underground in 1995) hasn’t completed a feature since 2007’s Promise Me This. His long gestating latest is based on his short film Our Life and “unfolds as a three-part narrative recounting three periods in the life of a man (Kusturica): his time as a lucky milkman during the war, perilous escapades and blossoming romance with the woman he loves (Bellucci), and his later life as a monk, looking back over the tumultuous past – both his and his country’s.”
Cast: Emir Kusturica, Monica Bellucci
Production Co./Producers: Ag Studios’Alex Garcia, Bn Films’ Lucas Akoskin, Pinball London’s Paula Vaccaro, Rasta Intl’s Emir Kusturica.
U.
- 1/8/2016
- by Nicholas Bell
- IONCINEMA.com
Though there are many issues regarding the problematic process in deciding the roster of nominees for the annual onslaught known as the Academy Awards, the selecting of the nominations for Best Foreign Language film remains an easy target to critique. With specific guidelines regarding theatrical release to qualify and only one sole entry allowed for each ‘competing’ country, by the time a list of titles is announced for Academy voters, who’s to say every voter gets a chance to sample even half the selections? This year, 81 countries provided submissions (which is actually a lower number from the past two years, with 2014 holding the record of 83 entries), and much like other categories, titles arriving with a higher degree of critical buzz are likely to reach a broader range of voters.
This year’s offering includes an exciting range of titles, and at least twenty of these are worthy of the...
This year’s offering includes an exciting range of titles, and at least twenty of these are worthy of the...
- 11/2/2015
- by Nicholas Bell
- IONCINEMA.com
As of this article's publication only five countries have announced their official Oscar entries for the 88th Academy Awards: Hungary ("Son of Saul"), Romania ("Aferim!"), Bosnia & Herzegovina ("Our Everyday Life"), Luxembourg ("Baby(A)lone"), and Kazakhstan ("Stranger"). Taking into account last year's record number of submissions, 83 in total, there are certainly a lot more coming in the next few weeks. Several national film organization have already narrowed the field down to a shortlist of films that qualify to be considered, other countries skip the shortlist and simply announce their participant title without revealing what was being considered.
Trying to predict what a particular nation will enter is a tall order because of the numerous factors that weight in, especially when dealing with countries with a large film industry. In other cases, however, there are usually just a couple standouts that meet the standards to be submitted. Whatever the case, even with the most obvious choices there could be surprises such as Indian choosing not to submitting "The Lunchbox" or Chile choosing another film over Silva's "The Maid."
While there is no sure-fie formula to predict what films will be competing for the Best Foreign Language Film Academy Award, by looking at festivals, release dates, national awards, previous submissions, and with a hefty dose of educated speculation, I've put together a list of 35 titles that, at this point, seem like excellent choices.
Update 08/28: Several countries have announced their official submissions: Croatia ("The High Sun"), Germany ("Labyrinth of Lies"), Guatemala ("Ixcanul"), Switzerland ("Iraqi Odyssey"), and Palestine ("The Wanted 18").
Argentina
"The Clan" (El Clan)
Dir. Pablo Trapero
Isa: Film Factory Entertainment
U.S. Distribution: None Yet
Argentine Release Date: August 13th, 2015
Coming off the success of this year’s nominee “Wild Tales,” which also did very well at the U.S. box-office for Sony Pictures Classics and became a spectacular hit back home, Argentina seems to have another strong contender this year with Pablo Trapero’s latest work “The Clan” (El Clan). Two of the director’s previous films have been submitted before (“Lion’s Den” and “Carrancho”), and this one about the Puccio family, which was criminal organization that kidnapped and murdered wealthy people, looks more than promising. “The Clan” is also produced by Almodovar’s El Deso, just as Damian Szifron’s “Tales” was. There are several other films that have enough merits to be considered, but might prove insufficient when faced with Trapero’s film. “Refugiado,” “El Patron,” “Two Shots” and, even “Jauaja,” starring Viggo Mortensen, qualify
Brazil
"The Second Mother"
Dir. Anna Muylaert
Isa: The Match Factory
U.S. Distribution: Oscilloscope Pictures
Brazilian Release Date: August 27, 2015
Undoubtedly the most awarded Brazilian film of the year is also their best bet at the Oscars. Anna Muylaert's “The Second Mother” premiered at Sundance where it won a Special Jury Prize for both of its leading actresses Regina Casé and Camila Márdila. It went on to screen in the Panorama section of the Berlinale and took home the C.I.C.A.E. Award and the Audience Award. The film tells the story of a live-in housekeeper and his daughter as they navigate the class divisions prevalent in Brazilian society. Another factor in its favor is the fact that the film has secured U.S. distribution thanks to Oscilloscope. “The Second Mother” opens in Brazil on August 27 and, in a strange turn of events, on August 28 in the U.S. While there are plenty of other great Brazilian works that qualify to be submitted, it’s unlikely that the selection committee will look elsewhere. Other films that could have a shot at being chosen are “August Winds,” “Casa Grande.” “Blue Blood,” and “White Out, Black In”
Bulgaria
"The Judgement"
Dir. Stephan Komandarev
Isa: Premium Film
U.S. Distribution: None Yet
Bulgarian Release Date: October 16, 2014
Following last year’s scandalous selection of “Bulgarian Rhapsody” over the more deserving “Viktoria,” the Eastern European country has a two-way race in which both candidates have almost equal chances at being chosen. Stephan Komandarev’s drama “The Judgement” is the larger production of the two and revolves around a desperate father trying to amend his relationship with his estrange son. At the same time the protagonist is also trying to make ends meet and decides to take on the dangerous job of smuggling illegal immigrant from Syria through a remote area of the Turkish-Greek-Bulgarian border. The other film is Kristina Grozeva & Petar Valchanov's “The Lesson,” about a devoted teacher who is faced with corrupt bureaucracy after her classroom is burglarized. Winning awards at the Sofia International Film Festival, San Sebastian, Thessaloniki, and screening at Tiff and Rotterdam, “The Lesson” should be the frontrunner. However, “The Judgement” might have the edge not only because it sports a larger budget and wider appeal, but because Komandarev is the filmmaker behind “The World is Big and Salvation Lurks Around the Corner,” which is the one Bulgarian film that has gotten the closest to Oscar glory when it was shortlisted by the Academy in 2010. Less likely to be selected but still viable possibilities are “Adultery,”"Buffer Zone," and "The Petrov File."
Canada
"Felix & Meira"
Dir. Maxime Giroux
Isa: Urban Distribution International
U.S. Distribution: Oscilloscope Laboratories
Canadian Release Date: January 30th, 2015
As of now Canada’s ideal representative would be the small, but touching, “Felix & Meir,” about a married woman from the Orthodox Jewish community who falls in love with a secular man, as way to know life beyond the restrictions of her faith. This tiny gem won the Best Canadian Feature award at last year’s Tiff and received four awards at the Whistler Film Festival including Best Film and Best Director. “Felix & Meira” was acquired by Oscilloscope for U.S. distribution and was released last April. To date it has grossed nearly $500,00, which, for a subtle and niche film like this, is a great feat. Giroux’ film should take this easily, unless the new film by Oscar-nominated director Philippe Falardeau decides to push for the opportunity. Falardeau newest film “Guibord Goes to War” (Guibord s’en va-t-en guerre) is a political dark comedy that premiered at Locarno and is scheduled to open in Canada on October 2- just two days after AMPAS’ deadline. If the distributor decides to have a one-week qualifying run ahead of the release, then it would become the new frontrunner to represent Canada. However, it’s still unknown if that is being considered or if the film will just wait till next year. Falardeau was nominated in the category for “Monsieur Lazhar” in 2012. “Chorus,” which premiered at Sundance, Berlin’s “Corbo,” Tiff’s “In Her Place,” and the “Les Loups” also qualify.
Chile
"The Club" (El Club)
Dir. Pablo Larraín
Isa: Funny Balloons
U.S. Distribution: Music Box Films
Chilean Release Date: May 28, 2015
With Pablo Larraín’s Silver Bear-winner film, Chile has an easy choice to make. “The Club,” which was recently picked up for U.S. distribution by Music Box Films, has received universal critical acclaimed and has cemented its director as one of the most important figures in Latin American cinema. Larraín’s latest centers on a group of priests and nuns sent to a beach town to purify their sinful pasts involving everything from pedophilia to kidnapping. The only other film that truly stands a chance is Matias Lira's “El Bosque de Karadima,” which deals with similar themes regarding secrecy and crimes against children within the Catholic Church. But even if this film has been well-received at home, “The Club” has had more much more international visibility and it has the distinction of being the newest work from the director behind “No,” Chile’s only Oscar-nominated film to date. Other notable works that will be part of the conversation include historical drama “Allende en su Laberinto” by veteran director Miguel Littin, Rodrigo Sepúlveda’s touching “Aurora," and indie flick “La Voz en Off.”
China
"Mountains May Depart" (山河故人)
Dir. Zhangke Jia
Isa: MK2
U.S. Distribution: Kino Lorber
Chinese Release Date: Unknown
Censorship has always played a role in China’s decision-making process when it comes to their Oscar submissions. Some of the best Chinese films in recent years are never considered given their controversial topics or because they were made outside of the state-run system. Under this circumstances patriotic epics or lavish period dramas are often selected even when their quality is subpar. The country’s big production this year is “The Lady of the Dynasty,” which was a box-office disappointment and garnered mostly negative reviews locally. With this in mind, the hope is that they will finally look at more compelling films with greater international exposure, such as Jia Zhangke’s “Mountains May Depart.” Premiering at Cannes to mostly positive responses, the film looks at Chinese society from three perspectives scattered over three decades. The film has passed the censors' revisions and will be allowed to screen in mainland Chine, which means it’s possible one of Zhangke’s film might finally represent his homeland. His previous effort, “A Touch of Sin,” was ignored because of its thematic elements. Jean-Jacques Annaud’s stunning “Wolf Totem” is a close second choice, but given the fact that China submitted a film by a French director last, they might want to highlight a homegrown talent this time. There is also “Red Amnesia,” a thriller about a widow that compulsively needs to take careof those around her until strange incidents shake her life. Er Cheng’s “The Wasted Times,” which appears to be a delirious visual treat, but it opens just a few days after the September 30th deadline. A qualifying run prior to that date is possible, but not likely. “Mountains May Depart” is definitely the strongest candidate.
Colombia
"Embrace of the Serpent" (El Abrazo de la Serpiente)
Dir. Ciro Guerra
Isa: Films Boutique
U.S. Distribution: Oscilloscope Laboratories
Colombian Release Date: May 25th, 2015
The Colombian film industry has had an outstanding year and that has produced an impressive lineup of films from which their strongest Oscar entry to date will emerge. Three films that screened at the Cannes Film Festival - two of which earned prizes – are at the top of the list. Winning the Art Cinema Award at the Directors’ Fortnight Ciro Guerra’s black-and-white “Embrace of the Serpent” is the one to beat among these trio of art house wonders. Guerra’s film is a period piece about the clash between the native people of the Amazon and a European explorer, which has received stellar reviews and was picked up for U.S. distribution by Oscilloscope. Two of Guerra’s previous films, “Wandering Shadows” and “The Wind Journey,” also represented Colombia at the Academy Awards. Nevertheless, the other films that screen at the Croisette, Golden Camera-winner “Land and Shade” and war drama “Alias Maria,” shouldn’t be completely counted out of the running. Films like Franco Lolli's “Gente de Bien” (Cannes 2014), Josef Wladyka's “Manos Sucias,” "Todos Se Van," and “Ruido Rosa” qualify and testify of the great moment Colombian filmmaking is experiencing, but they will have a difficult time pulling off an upset.
Croatia
"The High Sun" (Zvizdan)
Dir. Dalibor Matanic
Isa: Cercamon
U.S. Distribution: None Yet
Croatian Release Date: Septemeber 2015
It’s not often that a Croatian feature manage to grab Cannes’ attention and take home a prestigious award like the Un Certain Regard Jury Prize. “The High Sun” achieved such feat and should be almost a lock to become the country’s Oscar entry. This intense drama, that expands over three decades and explores the Balkan region’s turbulent history, also won 7 awards at the Pula Film Festival including Best Film, Director, Leading Actress, Supporting Actor, and Supporting Actress. If there’s another film with a reasonable shot, it would be Ognjen Svilicic's “These Are the Rules” about a family questioning their moral compass after a violent incident, which did well in the festival circuit winning awards in Venice, Warsaw, Stockholm, and Pula. Svilicic’s 2007 feature “Armin” represented the country at the 80th Academy Awards. “The Bridge at the End of the World,” “Ungiven,” “The Reaper,” “Number 55” are other noteworthy Croatian films released during the past year, but Matanic’s highly praised wok should have no trouble becoming the official entry.
Dominican Republic
"Sand Dollar" (Dólares de Arena)
Dir. Israel Cárdenas & Laura Amelia Guzmán
Isa: FIGa Films
U.S. Distribution: Breaking Glass Pictures
Dominican Release Date: November 13th, 2014
Thanks to a growing film industry, Dominican films have participated every year starting in 2011 after being absent from the race since 1995. Their submissions have included romantic comedies and low-budget crime dramas that weren’t successful at getting AMPAS’ attention. Fortunately, this year they might have their strongest candidate yet with “Sand Dollars.” In Israel Cárdenas & Laura Amelia Guzmán's film starring Geraldine Chaplin, a local girl becomes the object of desire for an older French woman visiting the Caribbean country, influenced by her boyfriend the Dominican beauty decides to take advantage of the foreigner’s interest. “Sand Dollars” has screened at countless festivals around the world winning a handful of awards and has secured U.S. distribution. Guillermo Zouain's road-trip comedy “Algún Lugar” has also been well-received at a couple of international festivals, but is less likely to be picked. “Pueto Pa’ Mí,” a drama about urban music, documentary “Tu y Yo," and biopic “Maria Montez,” might be out of luck. It’s unclear if Agliberto Meléndez political film “Del Color de La Noche,” has premiered yet, so that could a contender next year given that the director was behind the country’s first ever Oscar submission.
Ethiopia
"Lamb"
Dir. Yared Zeleke
Isa: Films Distribution
U.S. Distribution: None Yet
Ethiopian Release Date: Unknown
The East African nation has only sent two films for consideration. Last year it was the Angeline Jolie-supported “Difret,” which was part of the World Cinema competition at the 2014 Sundance Film Festival. This year only two films seem to qualify. “Lamb” is the first-ever Ethiopian film to screen at Cannes, which makes it the unquestionable favorite. It’s a rural story about a boy and his beloved sheep moving in with relatives as his mother goes to work in the city. Reviews were positive praising the film’s cinematography and layered storytelling. The other film that could possibly be selected is Hermon Hailay’s “Prince of Love” about a prostitute and a cab driver struggling to get by in the capital city of Addis Ababa. “Prince of Love” represented the country at Fespaco, one of Africa’s most renowned festivals, and will screen at Tiff in September. Ethiopia might choose to send “Lamb” this time around and save Hailay’s feature for next year depending on release date.
Finland
"The Fencer" (Miekkailija)
Dir. Klaus Härö
Isa: The Little Film Company
U.S. Distribution: None Yet
Finnish Release Date: March 13th, 2015
Peculiar teen drama “They Have Escaped” won four Jussi Awards from the Finnish Academy earlier this year including Best Film and Best Director; however, it will probably face an uphill battle to become Finland’s Oscar entry. Instead, Estonian-language period piece, “The Fencer,” looks like a more feasible alternative because of its classic story, elegant cinematography, and the director behind it: Klaus Härö. The film tells the story of a young Estonian fencer who leaves his homeland to become a Pe teacher and escape persecution by the Russian authorities in the 1950s. Some critics have gone as far as to call it “the best Finnish film in a decade.” Three of Härö’s previous films (“Elina: As If I Wasn’t There,””Mother of Mine, “ and Letter to Father Jacob) were selected as Oscar entries. The only obstacle in its path is the fact that this is an Estonian story with mostly Estonian dialogue. If the selection committee can overlook that, this will be their pick. Antti Jokinen's “Wildeye,” a visually arresting war drama that opens in September is another strong option, particularly because Jokinen’s previous film, “Purge,” represent the country in 2013. “Absolution,” “Head First,” ”Homecoming,” and “Tsamo” are proof a strong year in Finnish cinema but won’t make the cut.
France
"Dheepan"
Dir. Jacques Audiard
Isa: Wild Bunch
U.S. Distribution: Sundance Selects
French Release Date: August 26th, 2015
Given the amount of films produced in France each year, this is the most difficult country to narrow down. However, this year there is a heavyweight contender among the scores of worthy productions. Surprise Palme d’Or-winner “Deephan” by the Academy Award-nominated director of “A Prophet," Jacques Audiard, is a clear favorite. Audiard is a legend and it’s hard to think France won’t support the film that took home one of cinema’s most coveted prizes. Following the relevant immigrant story of a Sri Lankan warrior in France, “Dheepan” is almost a safe bet. If for some unimaginable reason Audiard’s latest is not chosen, the most likely alternative would be well-received “My Golden Days” by Arnaud Desplechin, which has been picked up for U.S. distribution by Magnolia Pictures. While there are dozens of films that could be considered, here are some other important French films that qualify based on their release dates: “Girlhood,” “Standing Tall,” “The Measure of Man,” “The New Girlfriend,” “Valley of Love,” “Eden,”"The Connection."
Germany
"Labyrinth of Lies" (Im Labyrinth des Schweigens)
Dir. Giulio Ricciarelli
Isa: Beta Cinema
U.S. Distribution: Sony Pictures Classics
German Release Date: November 6th, 2014
After an 8-film shortlist was released, - which sadly doesn’t include “Phoenix” because it opened late last September – things look pretty clear for the German selection committee. It’s really a 3-film race between “13 Minutes,” Labyrinth of Lies,” and “Victoria.” Unfortunately, and despite incredibly positive reviews, Sebastian Schipper's “Victoria” might be considered a risky choice because a big part of it is in English. That leaves Oliver Hirschbiegel’s “13 Minutes,” about a man who tried to assassinate Hitler in 1939. On the surface this looks like the prime title to send to AMPAS since Hirschbiegel’s “Downfall” earned him a nomination and he has worked in Hollywood for several years now. Yet, reception wasn’t as warm for his first German film in a decade. On the other “Labyrinth of Lies,” which deals with Post-World War II Germany and how the government tried to cover up its recent Nazi past, had better luck. Critical reception has been better for this film and it was a financial success in Germany and France, which gives the edge. Both “13 Minutes” and “Labyrinth of Lies” were acquired by Sony Pictures Classics for U.S. distribution. The complete list of shortlisted films can be found Here
Greece
"Xenia" (Ξενία)
Dir. Panos H. Koutras
Isa: Pyramide International
U.S. Distribution: Strand Releasing
Greek Release Date: October 2nd, 2014
Although it’s not an official rule, Greece almost-automatically selects the winner of the Best Film Prize at the Hellenic Film Awards as their Oscar submissions. This year’s winner was the Lgbt dramedy “Xenia,” which follows two Albanian brothers searching for their Greek father after their mother’s death. The film was nominated for 15 Hellenic Film Awards and won a total of six. “Xenia” premiered in the Un Certain Regard section at the Cannes Film Festival and will be released in the U.S. in October by Strand Releasing. I can’t see any other film being selected other than Koutras’ Almodovar-infused film, but if that were the case the other Best Film nominees – that meet AMPAS requirements- would be the ones to look to: “Electra,” “A Blast,” and “Forever.”
Guatemala
"Ixcanul"
Dir. Jayro Bustamante
Isa: Film Factory Entertainment
U.S. Distribution: None Yet
Guatemalan Release Date: August 27th, 2015
This is a no-brainer. Guatemala has only sent a film once back in 1994, but this year director Jayro Bustamante delivered the most awarded Guatemalan film in history. That should be a good enough reason to enter the race once again. “Ixcanul” won the Alfred Bauer Award at the Berlinale and has screened across the world to great success. Bustamante’s film centers on a Mayan girl who wants to escape the arrange marriage that awaits her to see what’s beyond her village. Another Guatemalan film, which also screened in Berlin, Edgar Sajcabún's “La Casa Más Grande del Mundo,” will probably not open theatrically in time and should be considered next year.
Iceland
"Rams" (Hrútar)
Dir. Grímur Hákonarson
Isa: New Europe Film Sales
U.S. Distribution: Cohen Media Group
Icelandic Release Date: May 28th, 2015
Two middle-aged brothers in an Icelandic rural town leave their differences behind and come together to save their beloved farm animals in the Un Certain Regard Award-winner “Rams.” With such recognition under its belt and having just been picked for U.S. distribution by Cohen Media Group, Grímur Hákonarson's film is certainly the handsomest choice. Still, “Rams” is not without a strong rival. Crowd-pleaser “Virgin Mountain,” about a lonely man whose life changes when he meets a new friend, had its U.S. premiere at the Tribecca Film Festival where it won three awards: Best Narrative Feature, Best Actor, and Best Screenplay. It could go either way, but the Cannes prestige and having found a U.S. distributor give “Rams” the upper hand. Iceland produced several qualifying features this year including “Brave Men’s Blood,” “East of the Mountain, “ and “The Homecoming.”
Iran
"Muhammad: The Messenger of God"
Dir. Majid Majidi
PC: Nourtaban Film Industry
U.S. Distribution: None Yet
Iranian Release Date: August 26, 2015
Iran will have to make an incredibly difficult decision that unfortunately may have political repercussions. Majid Majidi’s latest film “Muhammad: The Messenger of God” is the most expense Iranian feature ever made. The historical epic brings to life the early years of the prophet's life with impressive locations, costumes, and cinematography courtesy of Three-time Oscar-winner Vittorio Storaro. Majidi himself is no stranger to the Academy having earned Iran’s first-ever Academy Award nomination with “Children of Heaven.” Taking these facts into consideration, “Muhammad” seems to be the obvious selection, but there are many religious and political concerns that could get in its way. Islam prohibits the depiction of the prophet and other sacred figures in any artistic work. Knowing this, Majidi shot the entire film - which is the first part in what’s to become a trilogy – without ever showing the prophet’s face by shooting most scenes from his point of view or showing him with his back to the camera. This was acceptable for Iran’s censors, as the film will open this week in theaters across the Middle Eastern country. However, other Muslim countries, particularly Sunni Muslims, have been outspoken about their discontent with the film. Whether Iran will still choose to submit the film to AMPAS is a mystery, but it will certainly have more to do with outside influences rather than artistic merit. “Muhammad” will have its North American premiere at the Montreal World Film Festival.
“Nahid” by Ida Panahandeh, about a woman’s journey from divorce to remarrying, won the Avenir Prize in the Un Certain Regard section at Cannes, but - although censors have said the film will be allowed the screen in Iran - it might not open theatrically in time. It also deals with a controversial subject and that might limit it chances. A third, and much safer option, is romantic drama “What’s the Time in Your World?” starring Leila Hatami (“A Speration”) and Ali Mosaffa (“The Past”). Directed by Safi Yazdanian, the film looks beautifully done and sports two of the most talented Iranian actors working today. It could definitely be a good alternative. Other films include “Borderless,” “Track 143,” "Tales” and “Confessions of a Dangerous Mind.” Perhaps Iran will ignore the risk and submit their most lavish film to date by one of their most celebrated filmmakers who still works within the state’s parameters.
Israel
"The Kind Words" (Ha'milim ha'tovot )
Dir. Shemi Zarhin
Isa: Beta Cinema
U.S. Distribution: None Yet
Israeli Release Date: May 28, 2015
With 12 nominations to Israel’s Ophir Awards, “The Kind Words” including Best Film, Best Director, Best Screenplay, Best Actor, and Best Actress Shem Zarhin’s film is the one to beat. Since the winner of the Ophir Award for Best Film automatically becomes Israel’s Oscar submission, “The Kind Words” has a strong shot at both honors. The film follows a group of siblings as they travel abroad to uncover a secret. By default the other contenders are the rest of the films nominated for Best Film: “Wounded Land,” ”Afterthought,” “Wedding Doll,” and “Baba Joon.” Of this Elad Keidan's “Afterthought,” which premiered at Cannes to positive reviews, and Erez Tadmor's intense drama “Wounded Land” appear to be the strongest alternatives. Despite being nominated several times Israel has never won the Best Foreign Language Film Academy Award.
Italy
"My Mother" (Mia Madre)
Dir. Nanni Moretti
Isa: Films Distribution
U.S. Distribution: Alchemy
Italian Release Date: April 16th, 2015
Nanni Moretti is back with “Mia Madre,” a new family drama that screened in competition at this year’s Cannes Film Festival and won a few awards at the Italian David di Donatello Awards. Since the big winner at the national awards, “Black Souls,” was considered last year, Moretti’s film is the frontrunner. However, there is a wild card that could change things. Veteran filmmaker Marco Bellocchio will release his newest work “Blood of My Blood,” a historical drama about a 17th century woman accused of being a witch, on September 9 - just in time to qualify. It’s likely that Moretti will have enough support to pull it off, but there is still a chance that might not be set in stone. Besides these two films there is Mario Martone’s “Leopardi,” a biopic about poet Giacomo Leopardi, which won several David di Donatello Awards and was also recognized in Venice. With even less possibilities are Sundance’s “Cloro,” “Greenery Will Bloom Again,” and Albanian-language “Sworn Virgin,”
Ivory Coast
"Run"
Dir. Philippe Lacôte
PC: Banshee Films
U.S. Distribution: None Yet
Ivorian Release Date: December 17th, 2014
The first and only time a film represent Ivory Coast at the Oscars was back in 1977. That film, “Black and White in Color,” won the first and only Academy Award attributed to a Sub-Saharan African country. Nevertheless, that landmark work was directed by a Frenchmen, Jean-Jacques Annaud, and had mostly French talent in the leading roles. Now, almost 40 years later, an actual Ivorian film looks presents a fantastic opportunity for the country to return to the race. Philippe Lacote’s political drama “Run” screened in the Un Certain Regard section in Cannes 2014, Tiff, and AFI Fest, and later opened commercially in Abidjan, the Ivorian Capital, and Paris. Ivory Coast has only one eligible film to submit as their Oscar entry, and fortunately it’s a good one.
Japan
"Our Little Sister" (海街 diary)
Dir. Hirokazu Koreeda
Isa: Wild Bunch
U.S. Distribution: Sony Pictures Classics
Japanese Release Date: June 13th, 2015
Japan hasn’t had a successful entry since unexpectedly winning the award in 2009 with “Departures.” Their selections are often baffling because they tend to ignore festival winners and critically acclaimed films to pick obscure titles that rarely connect with voters. In recent years outstanding films such as “Like Father, Like Son” have been overlooked. Having said this, one can only hope that this time around they will chose more wisely. This year another film by Hirokazu Koreeda, “Our Little Sister,” debuted at Cannes and has been picked up for U.S. distribution by Sony Pictures Classic – a powerhouse distributor in the Best Foreign Language Film race. Based on a manga series, the film revolves around a group of young women who decide to adopt their stepsister after their father dies. “Our Little Sister” was also a financial success in its homeland. Even with all these positive qualities on its side, Japan might refuse to submit Koreeda’s film and look elsewhere. Other options from the festival circuit include Naomi Kawase's “An- Sweet Red Bean Paste,” which less positive reviews; “Journey to the Shore,” though it opens on October 1; “Kabukicho Love Hotel,” which screened at Tiff last year, and “Cape Nostalgia.”
Jordan
"Theeb" (ذيب)
Dir. Naji Abu Nowar
Isa: Fortissimo Films
U.S. Distribution: Film Movement
Jordanian Release Date: March 19th, 2015
In 2008 Jordan submitted their first-ever Oscar submission, and the first feature film made in the country in half a century. That film, “Captain Abu Raed,” did very well in festivals like Sundance and Dubai. Since then, Jordanian cinema has been scarce forcing the country to be absent from the race. That could change this year with “Theeb” by UK-born filmmaker Naji Abu Nowar. His period piece about a Bedouin boy during World War I has played at numerous festivals and will have a U.S. theatrical release via Film Movement.
Lithuania
"The Summer of Sangailé" (Sangaile)
Dir. Alanté Kavaïté
Isa: Films Distribution
U.S. Distribution: Strand Releasing
Lithuanian Release Date: August 21st, 2015
The Sundance Film Festival screened its first-ever Lithuanian feature this past January, “The Summer of Sangailé” by Alanté Kavaïté. This Lgbt coming-of-age story showcases captivating cinematography and nuanced performances. “Sangailé” went on to win the Directing Award in the World Cinema Competition at the Park City festival. It will also become one of the very few Lithuanian films to have been distributed in the U.S. when Strand Releasing schedules its theatrical release. Being the most awarded narrative film from the Baltic nation, it should be a shoo-in. "Sangailé" also won three Silver Crane Awards (Lithuanian Oscars): Best Film, Best Actress for Julija Steponaityte and best set design for Ramunas Rastauskas. Its only realistic adversary is the documentary “Master and Tatyana,” which won the Best Documentary, Best Director, and Best Cinematography prizes at the Silver Crane. Lithuania has shown to be fond of submitting documentaries, but one could presume that “Sangaile’s” wider international appeal will help it succeed.
Mexico
"The Thin Yellow Line" (La Delgada Línea Amarilla)
Dir. Celso R. García
Isa: Latido Films
U.S. Distribution: None Yet
Mexican Release Date: Unknown
Among the 14 films that the Mexican Academy announced as candidates to become the official Oscar submission, only a handful of them have a real chance at representing Mexico. It’s really a three-way race between “600 Miles,” “La Tirisia,” and “The Thin Yellow Line.” Each of these has distinctive assets as well as factors that could play against them. Gabriel Ripstein's “600 Miles” stars Tim Roth, which could be beneficial because Academy voters would see a familiar face on screen. At the same time Roth’s participation means that there is a considerable amount of English dialogue that could make the film feel less authentic when considered as a “foreign language film” representing a country. Then there is Jorge Pérez Solano's art house marvel, “La Tirisia,” about the role of women in a very traditional Mexican community. This is a film that truly showcases an unseen aspect of Mexican culture and has garnered international recognition, but it might be too small in scope to be selected.
Lastly, “The Yellow Thin Line,” which was awarded at the Guadalajara Film Festival but hasn’t travel much. It will screen at the Chicago International Film Festival in October. “The Thin Yellow Line” tells the story of a group of men working on a deserted road as they are forced to come to terms with their yearnings and failures. The premise seems unique; the cast includes some of Mexico’s most recognizable talents, and it’s partly produced my Guillermo del Toro. That last fact is what could set the film apart from the rest because the general public and Academy voters will be intrigued to see what was it about this story that interested Del Toro, who hasn’t been involved in a Mexican project in several years. It’s a tough race, but having someone like the “Pan’s Labyrinth’s” director supporting the film could be a deal breaker.
Peru
"The Vanished Elephant" (El Elefante Desaparecido)
Dir. Javier Fuentes-León
Isa: Mundial
U.S. Distribution: Oscilloscope Laboratories
Peruvian Release Date: October 9th, 2015
Javier Fuentes-Leon’s “The Vanished Elephant” premiered at last year’s Tiff and was also part of this year’s Los Angeles Film Festival making it the highest profile Peruvian film of the year. At home, the critical response was very positive and the quality of the film, in comparison to other Peruvian works released in the last 12 months, is undeniable. “The Vanished Elephant” tells the cryptic story of a writer whose girlfriend disappears without a trace. After receiving a series of strange photographs, he delves into deceitful conspiracy that defies the lines between reality and fiction. Fuentes-Leon debut feature “Undertow” was submitted to the Academy back in 2010. Enrica Perez’ “Climas” about three Peruvian women from different walks of life and Héctor Gálvez forensic mystery “Nn” have both screened at several international festivals, and though they are much smaller film’s than “The Vanished Elephant,”either of them could be the next best choice to become Peru’s Oscar entry. Less likely titles include “Videophilia,” “Solos,” and historical drama “Gloria del Pacífico.”
The Philippines
"Trap" (Taklub)
Dir. Brillante Mendoza
Isa: Films Distribution
U.S. Distribution: None Yet
Filipino Release Date: Unknown
Brillante Mendoza is one the Philippines most acclaimed auteurs and yet none of his films have ever been selected to represent the Southeast Asian nation at the Oscars. His latest work, “Trap,” won Special Mention from the Ecumenical Jury at Cannes and it’s the prime contender to travel to L.A. this year. “Trap” follows a group of survivors soon after Typhoon Haiyan devastated a great part of the country. The film stars Filipino actress Nora Aunor, who also the lead in Mendoza’s “Thy Womb,” which was the Filipino entry at the Golden Globes a couple years back. Given that Mendoza’s work has never been selected, there is a chance he might miss out once more. If that happens, the film that could benefit is Paul Soriano's Manny Pacquiao biopic titled “Kid Kulafo,” which would evidently ring a bell with Americans. Other films to be considered include “Justice,” also starring Aunor, “Crocodile,” or even lighthearted comedy “English Only, Please.”
Russia
"Sunstroke"
Dir. Nikita Mikhalkov
Isa: Wild Bunch
U.S. Distribution: None Yet
Russian Release Date: October 4th, 2014
Even after winning the Golden Globe and being nominated for an Academy Awards, Andrey Zvyagintsev “Leviathan” couldn’t get the Best Film award from the Russian Academy. Instead, they decided to bestow that honor on veteran filmmaker Nikita Mikhalkov's period piece "Sunstroke.” This is the type of film that Russia loves to submit: patriotic, historical, and epic. Even though last year the Russian selection committee showed they could overlook their political agenda to ensure the best film represented the country, this year they will go back to their old ways. This is not to say “Sunstroke” is a bad film, as hardly anyone outside of Russia has seen, but it does mean that other more daring offers like Yuriy Bykov's festival darling “The Fool” and Aleksey German's “Under Electric Clouds" have little hope at becoming the country’s entry and getting the exposure that comes with it. Mikhalkov won the Oscar in for “Burnt by the Sun” in 1995 and was nominated again for "12" in 2008, which means he will be hard to beat this year. "The Fool" would be a much more interesting selection but its story about a regular citizen fighting the corrupt system might prove too controversial. There is also another war epic titled "Batalion" by Dmitriy Meskhiev, which could pull off a surprise.
Serbia
"Enclave" (Enklava)
Dir. Goran Radovanovic
PC: Nana Filam
U.S. Distribution: None Yet
Serbian Eelease Date: March 19, 2015
Serbia’s 6-film shortlist includes worlds that deal with a variety of subjects, from the recurrent tales of war and its aftermath, triumphant sports stories, and even the peculiar case of a boy who grew up wild in the woods. Of all these possibilities, the film that seems to have the most gravitas is Goran Radovanovic's “Enclave,” a film about the ethnic divide in Kosovo and the atrocities that perpetuates. This is definitely not the film with the most international exposure, but the story might be enough to warrant its submission. Films that deal with similar issues like, “Circles,” have been previous selected. But the Serbian committee wants to stay away from both war and sports dramas, they might go with Vuk Rsumovic “No One’s Child” which did very well at a few festivals including Venice and Palm Springs. It could either way. Original comedy "Monument to Michael Jackson" could also be a more lighthearted choice. The shortlist is completed by "We Will Be the World Champions"," The Man Who Defended Gavrilo Princip," and "The Disobedient" (Sundance 2014).
Spain
"Ma Ma"
Dir. Julio Medem
Isa: Seville International
U.S. Distribution: None Yet
Spanish Release Date: September 11, 2015
For a long time I had hope that Spain would find a loophole and submit their most honored film at this year’s Goya Awards, “Marshland” (La Isla Minima), but that seems like a farfetched hope now. Luckily, another film that looks like a winner will be released just in time. “Ma Ma” directed by Julio Medem and starring Academy Award-winner Penelope Cruz has Oscar written all over it. Cruz plays a mother diagnosed with cancer and whose ferocious battle with the disease will reinvigorate her love for life. The actress also served as a producer in what has become one of the most anticipated films of the year. The only films that could challenge are coming-of-ager “A Cambio de Nada” and Basque-language drama “Loreak.” The former appears to be feel-good story that might seem slight in comparison to both “Ma Ma” and “Loreak,” which deals with a woman who starts receiving flowers from a mysterious sender. “Magical Girl” is a brilliantly twisty film, but being so edgy it will probably be considered to risky for the Oscar race. Penelope Cruz’ star power will decide this race.
Sweden
"A Pigeon Sat on a Branch Reflecting on Existence" (En duva satt på en gren och funderade på tillvaron)
Dir. Roy Andersson
Isa: Coproduction Office (Paris)
U.S. Distribution: Magnolia Pictures
Swedish Release Date: November 14th, 2014
The two previous chapters sin Andersson’s trilogy about being human were submitted to AMPAS, and even if they didn’t get a nomination, it’s hard to imagine them not submitting “A Pigeon.” The film has been critically acclaimed and it won the Golden Lion at last year’s Venice Film festival. Furthermore, it has already been released in the U.S. by Magnolia, the company that handled last year’s Swedish submission, “Force Majeure.” While I’d love to see Andersson be selected, there are several other films that could prevent that from happening. Kay Pollack, who earned Sweden’s most recent nomination for “As It Is in Heaven,” has a new film opening in early September titled “Heaven on Earth.” Depending on how that film is received the tables may or may not turn. The third strongest option is the romantic costume drama “Gentlemen,” which won several awards from the Swedish Academy and has already been picked up for U.S. distribution by, of course, Magnolia. Smaller, yet worthy candidates, include “My Skinny Sister” and “Flocking,” both of which premiered in Berlin.
Switzerland
"Vanity" (La Vanité)
Dir. Lionel Baier
Isa: Wide
U.S. Distribution: None Yet
Swiss Release Date: September 2, 2015
Out of the 7 films shortlisted by the Swiss, the one that immediately stands out is dark comedy “Vanity.” The film just premiered at Locarno and it stars Spanish actress, and one of Almodovar’s favorites, Carmen Maura, as well as Patrick Lapp. Although the film deals with suicide, the approach seems to be very comedic. In a list of several obscure titles, “Vanity” should come out on top. A second option could be Stina Werenfels' “Dora or the Sexual Neuroses of Our Parents,” which screened in Berlin’s Panorama section and tells the story of a mentally disabled woman discovering her sexuality. “War” by Simon Jaquemet, about a rebellious teenager, had some festival play as well but is less likely to be chosen. The other four titles in the shortlist are: “Pause,” doc “Iraqi Odyssey,” “Chubby,” and “L’oasis des mendiants.”
Taiwan
"The Assassin" (聶隱娘)
Dir. Hsiao-hsien Hou
Isa: Wild Bunch
U.S. Distribution: Well Go USA Entertainment
Taiwanese Release Date: August 28th, 2015
There is really no race here. “The Assassin” will be Taiwan’s entry almost certainly. Winner of the Best Director Award at the Cannes Film Festival and clearly one of the best reviewed films of the year, this martial arts epic, which is said to showcase marvelous imagery, should be consider a strong contender. I can’t see Taiwan not choosing the film, but there are still other films that could be considered. Of those the most viable, but very distant, second choice could be Tso-chi Chang's “Thanatos, Drunk,” which was awarded in Berlin and received six prizes at the Taipei Film Festival. The film revolves around to brothers in Taipei trying to find jobs.
Thailand
"Cemetery of Splendor" (รักที่ขอนแก่น)
Dir. Apichatpong Weerasethakul
Isa: The Match Factory
U.S. Distribution: Strand Releasing
Thai Release Date: Unknown
It was a great year for Thai art house cinema, which means the country has several prominent titles to choose from. Strangely enough, even when there are films with international recognition, Thailand often decides to submit a quirky romantic comedy or a random horror film. The reasons behind their selections are unknown. Still, assuming that they will pay attention to their most respected filmmakers, the number one choice should be "Cemetery of Splendor." However, Apichatpong Weerasethakul's films are not as well liked in his homeland are they are abroad, but it seems irrational for them not consider the film. It might be too abstract for AMPAS’ taste, but it’s still the most prestigious work. Other possibilities include “How to Win at Checkers (Every Time)," which is partially in English, “The Blue Hours” (Berlin’s Panorama), and Rotterdam’s “Vanishing Point.” Of course, there are scores of more commercial titles from which the committee might pick.
Turkey
"Mustang"
Dir. Deniz Gamze Ergüven
Isa: Kinology
U.S. Distribution: Cohen Media Group
Turkish Release Date: Unknown
Last year Nuri Bilge Ceylan’s Palme d’Or-winning film “Winter Sleep” failed to receive a nomination, perhaps due to it’s length and cerebral screenplay. This year another title out of Cannes shows more promise. “Mustang” tells the story of five sisters living in a small village and subjected to the sexist prejudices of the townspeople. With extensive festival play and in the hands of Cohen Media Group - the company behind this year’s nominee “Timbuktu" - Deniz Gamze Ergüven’s film is the ideal pick. Sundance’s “Ivy” by Tolga Karaçelik, about a group of men trapped aboard a ship could definitely be a top contender. Kutlug Ataman's “Kuzu,” winner of the C.I.C.A.E. Award in Berlin’s Panorama section would be the third most likely film to represent Turkey at the Oscars. Lastly, “The Miracle,” a romantic period piece, is a large local production that could be considered, but lacks the festival exposure of the other three.
Venezuela
"Gone With the River" (Dauna, Lo que lleva el río)
Dir. Mario Crespo
Isa: Centro Nacional Autonomo de Cinematografía
U.S. Distribution: None Yet
Venezuelan Release Date: March 20, 2015
With Alberto Arvelo’s “The Liberator,” the South American nation got as close as it’s ever been to Oscar glory this year. The biopic about Simón Bolívar starring Edgar Ramírez managed to become one of the 9 shortlisted finalists out of 83 submissions. Venezuela has several options to submit for the 88th Academy Awards, but they are much smaller in magnitude on this occasion. Appearing at the NATIVe sidebar of the Berlinale, “Dauna, lo que lleva el río” or “ Gone with the River” is the most important Venezuelan film of the year and gives voice to the country’s indigenous people by telling story that rarely gets seen on screen. On the other hand, the film “3 Beauties,” about another of Venezuelan’s most well-known obsessions, beauty pageants, has received critical praise at home but it seems to be a lighter satirical comedy. Their Oscar entry could be either one of the two, but I think they will go with the more socially relevant story. A smaller film, “Espejos,” could be part of the conversation but is possibilities are very limited.
Trying to predict what a particular nation will enter is a tall order because of the numerous factors that weight in, especially when dealing with countries with a large film industry. In other cases, however, there are usually just a couple standouts that meet the standards to be submitted. Whatever the case, even with the most obvious choices there could be surprises such as Indian choosing not to submitting "The Lunchbox" or Chile choosing another film over Silva's "The Maid."
While there is no sure-fie formula to predict what films will be competing for the Best Foreign Language Film Academy Award, by looking at festivals, release dates, national awards, previous submissions, and with a hefty dose of educated speculation, I've put together a list of 35 titles that, at this point, seem like excellent choices.
Update 08/28: Several countries have announced their official submissions: Croatia ("The High Sun"), Germany ("Labyrinth of Lies"), Guatemala ("Ixcanul"), Switzerland ("Iraqi Odyssey"), and Palestine ("The Wanted 18").
Argentina
"The Clan" (El Clan)
Dir. Pablo Trapero
Isa: Film Factory Entertainment
U.S. Distribution: None Yet
Argentine Release Date: August 13th, 2015
Coming off the success of this year’s nominee “Wild Tales,” which also did very well at the U.S. box-office for Sony Pictures Classics and became a spectacular hit back home, Argentina seems to have another strong contender this year with Pablo Trapero’s latest work “The Clan” (El Clan). Two of the director’s previous films have been submitted before (“Lion’s Den” and “Carrancho”), and this one about the Puccio family, which was criminal organization that kidnapped and murdered wealthy people, looks more than promising. “The Clan” is also produced by Almodovar’s El Deso, just as Damian Szifron’s “Tales” was. There are several other films that have enough merits to be considered, but might prove insufficient when faced with Trapero’s film. “Refugiado,” “El Patron,” “Two Shots” and, even “Jauaja,” starring Viggo Mortensen, qualify
Brazil
"The Second Mother"
Dir. Anna Muylaert
Isa: The Match Factory
U.S. Distribution: Oscilloscope Pictures
Brazilian Release Date: August 27, 2015
Undoubtedly the most awarded Brazilian film of the year is also their best bet at the Oscars. Anna Muylaert's “The Second Mother” premiered at Sundance where it won a Special Jury Prize for both of its leading actresses Regina Casé and Camila Márdila. It went on to screen in the Panorama section of the Berlinale and took home the C.I.C.A.E. Award and the Audience Award. The film tells the story of a live-in housekeeper and his daughter as they navigate the class divisions prevalent in Brazilian society. Another factor in its favor is the fact that the film has secured U.S. distribution thanks to Oscilloscope. “The Second Mother” opens in Brazil on August 27 and, in a strange turn of events, on August 28 in the U.S. While there are plenty of other great Brazilian works that qualify to be submitted, it’s unlikely that the selection committee will look elsewhere. Other films that could have a shot at being chosen are “August Winds,” “Casa Grande.” “Blue Blood,” and “White Out, Black In”
Bulgaria
"The Judgement"
Dir. Stephan Komandarev
Isa: Premium Film
U.S. Distribution: None Yet
Bulgarian Release Date: October 16, 2014
Following last year’s scandalous selection of “Bulgarian Rhapsody” over the more deserving “Viktoria,” the Eastern European country has a two-way race in which both candidates have almost equal chances at being chosen. Stephan Komandarev’s drama “The Judgement” is the larger production of the two and revolves around a desperate father trying to amend his relationship with his estrange son. At the same time the protagonist is also trying to make ends meet and decides to take on the dangerous job of smuggling illegal immigrant from Syria through a remote area of the Turkish-Greek-Bulgarian border. The other film is Kristina Grozeva & Petar Valchanov's “The Lesson,” about a devoted teacher who is faced with corrupt bureaucracy after her classroom is burglarized. Winning awards at the Sofia International Film Festival, San Sebastian, Thessaloniki, and screening at Tiff and Rotterdam, “The Lesson” should be the frontrunner. However, “The Judgement” might have the edge not only because it sports a larger budget and wider appeal, but because Komandarev is the filmmaker behind “The World is Big and Salvation Lurks Around the Corner,” which is the one Bulgarian film that has gotten the closest to Oscar glory when it was shortlisted by the Academy in 2010. Less likely to be selected but still viable possibilities are “Adultery,”"Buffer Zone," and "The Petrov File."
Canada
"Felix & Meira"
Dir. Maxime Giroux
Isa: Urban Distribution International
U.S. Distribution: Oscilloscope Laboratories
Canadian Release Date: January 30th, 2015
As of now Canada’s ideal representative would be the small, but touching, “Felix & Meir,” about a married woman from the Orthodox Jewish community who falls in love with a secular man, as way to know life beyond the restrictions of her faith. This tiny gem won the Best Canadian Feature award at last year’s Tiff and received four awards at the Whistler Film Festival including Best Film and Best Director. “Felix & Meira” was acquired by Oscilloscope for U.S. distribution and was released last April. To date it has grossed nearly $500,00, which, for a subtle and niche film like this, is a great feat. Giroux’ film should take this easily, unless the new film by Oscar-nominated director Philippe Falardeau decides to push for the opportunity. Falardeau newest film “Guibord Goes to War” (Guibord s’en va-t-en guerre) is a political dark comedy that premiered at Locarno and is scheduled to open in Canada on October 2- just two days after AMPAS’ deadline. If the distributor decides to have a one-week qualifying run ahead of the release, then it would become the new frontrunner to represent Canada. However, it’s still unknown if that is being considered or if the film will just wait till next year. Falardeau was nominated in the category for “Monsieur Lazhar” in 2012. “Chorus,” which premiered at Sundance, Berlin’s “Corbo,” Tiff’s “In Her Place,” and the “Les Loups” also qualify.
Chile
"The Club" (El Club)
Dir. Pablo Larraín
Isa: Funny Balloons
U.S. Distribution: Music Box Films
Chilean Release Date: May 28, 2015
With Pablo Larraín’s Silver Bear-winner film, Chile has an easy choice to make. “The Club,” which was recently picked up for U.S. distribution by Music Box Films, has received universal critical acclaimed and has cemented its director as one of the most important figures in Latin American cinema. Larraín’s latest centers on a group of priests and nuns sent to a beach town to purify their sinful pasts involving everything from pedophilia to kidnapping. The only other film that truly stands a chance is Matias Lira's “El Bosque de Karadima,” which deals with similar themes regarding secrecy and crimes against children within the Catholic Church. But even if this film has been well-received at home, “The Club” has had more much more international visibility and it has the distinction of being the newest work from the director behind “No,” Chile’s only Oscar-nominated film to date. Other notable works that will be part of the conversation include historical drama “Allende en su Laberinto” by veteran director Miguel Littin, Rodrigo Sepúlveda’s touching “Aurora," and indie flick “La Voz en Off.”
China
"Mountains May Depart" (山河故人)
Dir. Zhangke Jia
Isa: MK2
U.S. Distribution: Kino Lorber
Chinese Release Date: Unknown
Censorship has always played a role in China’s decision-making process when it comes to their Oscar submissions. Some of the best Chinese films in recent years are never considered given their controversial topics or because they were made outside of the state-run system. Under this circumstances patriotic epics or lavish period dramas are often selected even when their quality is subpar. The country’s big production this year is “The Lady of the Dynasty,” which was a box-office disappointment and garnered mostly negative reviews locally. With this in mind, the hope is that they will finally look at more compelling films with greater international exposure, such as Jia Zhangke’s “Mountains May Depart.” Premiering at Cannes to mostly positive responses, the film looks at Chinese society from three perspectives scattered over three decades. The film has passed the censors' revisions and will be allowed to screen in mainland Chine, which means it’s possible one of Zhangke’s film might finally represent his homeland. His previous effort, “A Touch of Sin,” was ignored because of its thematic elements. Jean-Jacques Annaud’s stunning “Wolf Totem” is a close second choice, but given the fact that China submitted a film by a French director last, they might want to highlight a homegrown talent this time. There is also “Red Amnesia,” a thriller about a widow that compulsively needs to take careof those around her until strange incidents shake her life. Er Cheng’s “The Wasted Times,” which appears to be a delirious visual treat, but it opens just a few days after the September 30th deadline. A qualifying run prior to that date is possible, but not likely. “Mountains May Depart” is definitely the strongest candidate.
Colombia
"Embrace of the Serpent" (El Abrazo de la Serpiente)
Dir. Ciro Guerra
Isa: Films Boutique
U.S. Distribution: Oscilloscope Laboratories
Colombian Release Date: May 25th, 2015
The Colombian film industry has had an outstanding year and that has produced an impressive lineup of films from which their strongest Oscar entry to date will emerge. Three films that screened at the Cannes Film Festival - two of which earned prizes – are at the top of the list. Winning the Art Cinema Award at the Directors’ Fortnight Ciro Guerra’s black-and-white “Embrace of the Serpent” is the one to beat among these trio of art house wonders. Guerra’s film is a period piece about the clash between the native people of the Amazon and a European explorer, which has received stellar reviews and was picked up for U.S. distribution by Oscilloscope. Two of Guerra’s previous films, “Wandering Shadows” and “The Wind Journey,” also represented Colombia at the Academy Awards. Nevertheless, the other films that screen at the Croisette, Golden Camera-winner “Land and Shade” and war drama “Alias Maria,” shouldn’t be completely counted out of the running. Films like Franco Lolli's “Gente de Bien” (Cannes 2014), Josef Wladyka's “Manos Sucias,” "Todos Se Van," and “Ruido Rosa” qualify and testify of the great moment Colombian filmmaking is experiencing, but they will have a difficult time pulling off an upset.
Croatia
"The High Sun" (Zvizdan)
Dir. Dalibor Matanic
Isa: Cercamon
U.S. Distribution: None Yet
Croatian Release Date: Septemeber 2015
It’s not often that a Croatian feature manage to grab Cannes’ attention and take home a prestigious award like the Un Certain Regard Jury Prize. “The High Sun” achieved such feat and should be almost a lock to become the country’s Oscar entry. This intense drama, that expands over three decades and explores the Balkan region’s turbulent history, also won 7 awards at the Pula Film Festival including Best Film, Director, Leading Actress, Supporting Actor, and Supporting Actress. If there’s another film with a reasonable shot, it would be Ognjen Svilicic's “These Are the Rules” about a family questioning their moral compass after a violent incident, which did well in the festival circuit winning awards in Venice, Warsaw, Stockholm, and Pula. Svilicic’s 2007 feature “Armin” represented the country at the 80th Academy Awards. “The Bridge at the End of the World,” “Ungiven,” “The Reaper,” “Number 55” are other noteworthy Croatian films released during the past year, but Matanic’s highly praised wok should have no trouble becoming the official entry.
Dominican Republic
"Sand Dollar" (Dólares de Arena)
Dir. Israel Cárdenas & Laura Amelia Guzmán
Isa: FIGa Films
U.S. Distribution: Breaking Glass Pictures
Dominican Release Date: November 13th, 2014
Thanks to a growing film industry, Dominican films have participated every year starting in 2011 after being absent from the race since 1995. Their submissions have included romantic comedies and low-budget crime dramas that weren’t successful at getting AMPAS’ attention. Fortunately, this year they might have their strongest candidate yet with “Sand Dollars.” In Israel Cárdenas & Laura Amelia Guzmán's film starring Geraldine Chaplin, a local girl becomes the object of desire for an older French woman visiting the Caribbean country, influenced by her boyfriend the Dominican beauty decides to take advantage of the foreigner’s interest. “Sand Dollars” has screened at countless festivals around the world winning a handful of awards and has secured U.S. distribution. Guillermo Zouain's road-trip comedy “Algún Lugar” has also been well-received at a couple of international festivals, but is less likely to be picked. “Pueto Pa’ Mí,” a drama about urban music, documentary “Tu y Yo," and biopic “Maria Montez,” might be out of luck. It’s unclear if Agliberto Meléndez political film “Del Color de La Noche,” has premiered yet, so that could a contender next year given that the director was behind the country’s first ever Oscar submission.
Ethiopia
"Lamb"
Dir. Yared Zeleke
Isa: Films Distribution
U.S. Distribution: None Yet
Ethiopian Release Date: Unknown
The East African nation has only sent two films for consideration. Last year it was the Angeline Jolie-supported “Difret,” which was part of the World Cinema competition at the 2014 Sundance Film Festival. This year only two films seem to qualify. “Lamb” is the first-ever Ethiopian film to screen at Cannes, which makes it the unquestionable favorite. It’s a rural story about a boy and his beloved sheep moving in with relatives as his mother goes to work in the city. Reviews were positive praising the film’s cinematography and layered storytelling. The other film that could possibly be selected is Hermon Hailay’s “Prince of Love” about a prostitute and a cab driver struggling to get by in the capital city of Addis Ababa. “Prince of Love” represented the country at Fespaco, one of Africa’s most renowned festivals, and will screen at Tiff in September. Ethiopia might choose to send “Lamb” this time around and save Hailay’s feature for next year depending on release date.
Finland
"The Fencer" (Miekkailija)
Dir. Klaus Härö
Isa: The Little Film Company
U.S. Distribution: None Yet
Finnish Release Date: March 13th, 2015
Peculiar teen drama “They Have Escaped” won four Jussi Awards from the Finnish Academy earlier this year including Best Film and Best Director; however, it will probably face an uphill battle to become Finland’s Oscar entry. Instead, Estonian-language period piece, “The Fencer,” looks like a more feasible alternative because of its classic story, elegant cinematography, and the director behind it: Klaus Härö. The film tells the story of a young Estonian fencer who leaves his homeland to become a Pe teacher and escape persecution by the Russian authorities in the 1950s. Some critics have gone as far as to call it “the best Finnish film in a decade.” Three of Härö’s previous films (“Elina: As If I Wasn’t There,””Mother of Mine, “ and Letter to Father Jacob) were selected as Oscar entries. The only obstacle in its path is the fact that this is an Estonian story with mostly Estonian dialogue. If the selection committee can overlook that, this will be their pick. Antti Jokinen's “Wildeye,” a visually arresting war drama that opens in September is another strong option, particularly because Jokinen’s previous film, “Purge,” represent the country in 2013. “Absolution,” “Head First,” ”Homecoming,” and “Tsamo” are proof a strong year in Finnish cinema but won’t make the cut.
France
"Dheepan"
Dir. Jacques Audiard
Isa: Wild Bunch
U.S. Distribution: Sundance Selects
French Release Date: August 26th, 2015
Given the amount of films produced in France each year, this is the most difficult country to narrow down. However, this year there is a heavyweight contender among the scores of worthy productions. Surprise Palme d’Or-winner “Deephan” by the Academy Award-nominated director of “A Prophet," Jacques Audiard, is a clear favorite. Audiard is a legend and it’s hard to think France won’t support the film that took home one of cinema’s most coveted prizes. Following the relevant immigrant story of a Sri Lankan warrior in France, “Dheepan” is almost a safe bet. If for some unimaginable reason Audiard’s latest is not chosen, the most likely alternative would be well-received “My Golden Days” by Arnaud Desplechin, which has been picked up for U.S. distribution by Magnolia Pictures. While there are dozens of films that could be considered, here are some other important French films that qualify based on their release dates: “Girlhood,” “Standing Tall,” “The Measure of Man,” “The New Girlfriend,” “Valley of Love,” “Eden,”"The Connection."
Germany
"Labyrinth of Lies" (Im Labyrinth des Schweigens)
Dir. Giulio Ricciarelli
Isa: Beta Cinema
U.S. Distribution: Sony Pictures Classics
German Release Date: November 6th, 2014
After an 8-film shortlist was released, - which sadly doesn’t include “Phoenix” because it opened late last September – things look pretty clear for the German selection committee. It’s really a 3-film race between “13 Minutes,” Labyrinth of Lies,” and “Victoria.” Unfortunately, and despite incredibly positive reviews, Sebastian Schipper's “Victoria” might be considered a risky choice because a big part of it is in English. That leaves Oliver Hirschbiegel’s “13 Minutes,” about a man who tried to assassinate Hitler in 1939. On the surface this looks like the prime title to send to AMPAS since Hirschbiegel’s “Downfall” earned him a nomination and he has worked in Hollywood for several years now. Yet, reception wasn’t as warm for his first German film in a decade. On the other “Labyrinth of Lies,” which deals with Post-World War II Germany and how the government tried to cover up its recent Nazi past, had better luck. Critical reception has been better for this film and it was a financial success in Germany and France, which gives the edge. Both “13 Minutes” and “Labyrinth of Lies” were acquired by Sony Pictures Classics for U.S. distribution. The complete list of shortlisted films can be found Here
Greece
"Xenia" (Ξενία)
Dir. Panos H. Koutras
Isa: Pyramide International
U.S. Distribution: Strand Releasing
Greek Release Date: October 2nd, 2014
Although it’s not an official rule, Greece almost-automatically selects the winner of the Best Film Prize at the Hellenic Film Awards as their Oscar submissions. This year’s winner was the Lgbt dramedy “Xenia,” which follows two Albanian brothers searching for their Greek father after their mother’s death. The film was nominated for 15 Hellenic Film Awards and won a total of six. “Xenia” premiered in the Un Certain Regard section at the Cannes Film Festival and will be released in the U.S. in October by Strand Releasing. I can’t see any other film being selected other than Koutras’ Almodovar-infused film, but if that were the case the other Best Film nominees – that meet AMPAS requirements- would be the ones to look to: “Electra,” “A Blast,” and “Forever.”
Guatemala
"Ixcanul"
Dir. Jayro Bustamante
Isa: Film Factory Entertainment
U.S. Distribution: None Yet
Guatemalan Release Date: August 27th, 2015
This is a no-brainer. Guatemala has only sent a film once back in 1994, but this year director Jayro Bustamante delivered the most awarded Guatemalan film in history. That should be a good enough reason to enter the race once again. “Ixcanul” won the Alfred Bauer Award at the Berlinale and has screened across the world to great success. Bustamante’s film centers on a Mayan girl who wants to escape the arrange marriage that awaits her to see what’s beyond her village. Another Guatemalan film, which also screened in Berlin, Edgar Sajcabún's “La Casa Más Grande del Mundo,” will probably not open theatrically in time and should be considered next year.
Iceland
"Rams" (Hrútar)
Dir. Grímur Hákonarson
Isa: New Europe Film Sales
U.S. Distribution: Cohen Media Group
Icelandic Release Date: May 28th, 2015
Two middle-aged brothers in an Icelandic rural town leave their differences behind and come together to save their beloved farm animals in the Un Certain Regard Award-winner “Rams.” With such recognition under its belt and having just been picked for U.S. distribution by Cohen Media Group, Grímur Hákonarson's film is certainly the handsomest choice. Still, “Rams” is not without a strong rival. Crowd-pleaser “Virgin Mountain,” about a lonely man whose life changes when he meets a new friend, had its U.S. premiere at the Tribecca Film Festival where it won three awards: Best Narrative Feature, Best Actor, and Best Screenplay. It could go either way, but the Cannes prestige and having found a U.S. distributor give “Rams” the upper hand. Iceland produced several qualifying features this year including “Brave Men’s Blood,” “East of the Mountain, “ and “The Homecoming.”
Iran
"Muhammad: The Messenger of God"
Dir. Majid Majidi
PC: Nourtaban Film Industry
U.S. Distribution: None Yet
Iranian Release Date: August 26, 2015
Iran will have to make an incredibly difficult decision that unfortunately may have political repercussions. Majid Majidi’s latest film “Muhammad: The Messenger of God” is the most expense Iranian feature ever made. The historical epic brings to life the early years of the prophet's life with impressive locations, costumes, and cinematography courtesy of Three-time Oscar-winner Vittorio Storaro. Majidi himself is no stranger to the Academy having earned Iran’s first-ever Academy Award nomination with “Children of Heaven.” Taking these facts into consideration, “Muhammad” seems to be the obvious selection, but there are many religious and political concerns that could get in its way. Islam prohibits the depiction of the prophet and other sacred figures in any artistic work. Knowing this, Majidi shot the entire film - which is the first part in what’s to become a trilogy – without ever showing the prophet’s face by shooting most scenes from his point of view or showing him with his back to the camera. This was acceptable for Iran’s censors, as the film will open this week in theaters across the Middle Eastern country. However, other Muslim countries, particularly Sunni Muslims, have been outspoken about their discontent with the film. Whether Iran will still choose to submit the film to AMPAS is a mystery, but it will certainly have more to do with outside influences rather than artistic merit. “Muhammad” will have its North American premiere at the Montreal World Film Festival.
“Nahid” by Ida Panahandeh, about a woman’s journey from divorce to remarrying, won the Avenir Prize in the Un Certain Regard section at Cannes, but - although censors have said the film will be allowed the screen in Iran - it might not open theatrically in time. It also deals with a controversial subject and that might limit it chances. A third, and much safer option, is romantic drama “What’s the Time in Your World?” starring Leila Hatami (“A Speration”) and Ali Mosaffa (“The Past”). Directed by Safi Yazdanian, the film looks beautifully done and sports two of the most talented Iranian actors working today. It could definitely be a good alternative. Other films include “Borderless,” “Track 143,” "Tales” and “Confessions of a Dangerous Mind.” Perhaps Iran will ignore the risk and submit their most lavish film to date by one of their most celebrated filmmakers who still works within the state’s parameters.
Israel
"The Kind Words" (Ha'milim ha'tovot )
Dir. Shemi Zarhin
Isa: Beta Cinema
U.S. Distribution: None Yet
Israeli Release Date: May 28, 2015
With 12 nominations to Israel’s Ophir Awards, “The Kind Words” including Best Film, Best Director, Best Screenplay, Best Actor, and Best Actress Shem Zarhin’s film is the one to beat. Since the winner of the Ophir Award for Best Film automatically becomes Israel’s Oscar submission, “The Kind Words” has a strong shot at both honors. The film follows a group of siblings as they travel abroad to uncover a secret. By default the other contenders are the rest of the films nominated for Best Film: “Wounded Land,” ”Afterthought,” “Wedding Doll,” and “Baba Joon.” Of this Elad Keidan's “Afterthought,” which premiered at Cannes to positive reviews, and Erez Tadmor's intense drama “Wounded Land” appear to be the strongest alternatives. Despite being nominated several times Israel has never won the Best Foreign Language Film Academy Award.
Italy
"My Mother" (Mia Madre)
Dir. Nanni Moretti
Isa: Films Distribution
U.S. Distribution: Alchemy
Italian Release Date: April 16th, 2015
Nanni Moretti is back with “Mia Madre,” a new family drama that screened in competition at this year’s Cannes Film Festival and won a few awards at the Italian David di Donatello Awards. Since the big winner at the national awards, “Black Souls,” was considered last year, Moretti’s film is the frontrunner. However, there is a wild card that could change things. Veteran filmmaker Marco Bellocchio will release his newest work “Blood of My Blood,” a historical drama about a 17th century woman accused of being a witch, on September 9 - just in time to qualify. It’s likely that Moretti will have enough support to pull it off, but there is still a chance that might not be set in stone. Besides these two films there is Mario Martone’s “Leopardi,” a biopic about poet Giacomo Leopardi, which won several David di Donatello Awards and was also recognized in Venice. With even less possibilities are Sundance’s “Cloro,” “Greenery Will Bloom Again,” and Albanian-language “Sworn Virgin,”
Ivory Coast
"Run"
Dir. Philippe Lacôte
PC: Banshee Films
U.S. Distribution: None Yet
Ivorian Release Date: December 17th, 2014
The first and only time a film represent Ivory Coast at the Oscars was back in 1977. That film, “Black and White in Color,” won the first and only Academy Award attributed to a Sub-Saharan African country. Nevertheless, that landmark work was directed by a Frenchmen, Jean-Jacques Annaud, and had mostly French talent in the leading roles. Now, almost 40 years later, an actual Ivorian film looks presents a fantastic opportunity for the country to return to the race. Philippe Lacote’s political drama “Run” screened in the Un Certain Regard section in Cannes 2014, Tiff, and AFI Fest, and later opened commercially in Abidjan, the Ivorian Capital, and Paris. Ivory Coast has only one eligible film to submit as their Oscar entry, and fortunately it’s a good one.
Japan
"Our Little Sister" (海街 diary)
Dir. Hirokazu Koreeda
Isa: Wild Bunch
U.S. Distribution: Sony Pictures Classics
Japanese Release Date: June 13th, 2015
Japan hasn’t had a successful entry since unexpectedly winning the award in 2009 with “Departures.” Their selections are often baffling because they tend to ignore festival winners and critically acclaimed films to pick obscure titles that rarely connect with voters. In recent years outstanding films such as “Like Father, Like Son” have been overlooked. Having said this, one can only hope that this time around they will chose more wisely. This year another film by Hirokazu Koreeda, “Our Little Sister,” debuted at Cannes and has been picked up for U.S. distribution by Sony Pictures Classic – a powerhouse distributor in the Best Foreign Language Film race. Based on a manga series, the film revolves around a group of young women who decide to adopt their stepsister after their father dies. “Our Little Sister” was also a financial success in its homeland. Even with all these positive qualities on its side, Japan might refuse to submit Koreeda’s film and look elsewhere. Other options from the festival circuit include Naomi Kawase's “An- Sweet Red Bean Paste,” which less positive reviews; “Journey to the Shore,” though it opens on October 1; “Kabukicho Love Hotel,” which screened at Tiff last year, and “Cape Nostalgia.”
Jordan
"Theeb" (ذيب)
Dir. Naji Abu Nowar
Isa: Fortissimo Films
U.S. Distribution: Film Movement
Jordanian Release Date: March 19th, 2015
In 2008 Jordan submitted their first-ever Oscar submission, and the first feature film made in the country in half a century. That film, “Captain Abu Raed,” did very well in festivals like Sundance and Dubai. Since then, Jordanian cinema has been scarce forcing the country to be absent from the race. That could change this year with “Theeb” by UK-born filmmaker Naji Abu Nowar. His period piece about a Bedouin boy during World War I has played at numerous festivals and will have a U.S. theatrical release via Film Movement.
Lithuania
"The Summer of Sangailé" (Sangaile)
Dir. Alanté Kavaïté
Isa: Films Distribution
U.S. Distribution: Strand Releasing
Lithuanian Release Date: August 21st, 2015
The Sundance Film Festival screened its first-ever Lithuanian feature this past January, “The Summer of Sangailé” by Alanté Kavaïté. This Lgbt coming-of-age story showcases captivating cinematography and nuanced performances. “Sangailé” went on to win the Directing Award in the World Cinema Competition at the Park City festival. It will also become one of the very few Lithuanian films to have been distributed in the U.S. when Strand Releasing schedules its theatrical release. Being the most awarded narrative film from the Baltic nation, it should be a shoo-in. "Sangailé" also won three Silver Crane Awards (Lithuanian Oscars): Best Film, Best Actress for Julija Steponaityte and best set design for Ramunas Rastauskas. Its only realistic adversary is the documentary “Master and Tatyana,” which won the Best Documentary, Best Director, and Best Cinematography prizes at the Silver Crane. Lithuania has shown to be fond of submitting documentaries, but one could presume that “Sangaile’s” wider international appeal will help it succeed.
Mexico
"The Thin Yellow Line" (La Delgada Línea Amarilla)
Dir. Celso R. García
Isa: Latido Films
U.S. Distribution: None Yet
Mexican Release Date: Unknown
Among the 14 films that the Mexican Academy announced as candidates to become the official Oscar submission, only a handful of them have a real chance at representing Mexico. It’s really a three-way race between “600 Miles,” “La Tirisia,” and “The Thin Yellow Line.” Each of these has distinctive assets as well as factors that could play against them. Gabriel Ripstein's “600 Miles” stars Tim Roth, which could be beneficial because Academy voters would see a familiar face on screen. At the same time Roth’s participation means that there is a considerable amount of English dialogue that could make the film feel less authentic when considered as a “foreign language film” representing a country. Then there is Jorge Pérez Solano's art house marvel, “La Tirisia,” about the role of women in a very traditional Mexican community. This is a film that truly showcases an unseen aspect of Mexican culture and has garnered international recognition, but it might be too small in scope to be selected.
Lastly, “The Yellow Thin Line,” which was awarded at the Guadalajara Film Festival but hasn’t travel much. It will screen at the Chicago International Film Festival in October. “The Thin Yellow Line” tells the story of a group of men working on a deserted road as they are forced to come to terms with their yearnings and failures. The premise seems unique; the cast includes some of Mexico’s most recognizable talents, and it’s partly produced my Guillermo del Toro. That last fact is what could set the film apart from the rest because the general public and Academy voters will be intrigued to see what was it about this story that interested Del Toro, who hasn’t been involved in a Mexican project in several years. It’s a tough race, but having someone like the “Pan’s Labyrinth’s” director supporting the film could be a deal breaker.
Peru
"The Vanished Elephant" (El Elefante Desaparecido)
Dir. Javier Fuentes-León
Isa: Mundial
U.S. Distribution: Oscilloscope Laboratories
Peruvian Release Date: October 9th, 2015
Javier Fuentes-Leon’s “The Vanished Elephant” premiered at last year’s Tiff and was also part of this year’s Los Angeles Film Festival making it the highest profile Peruvian film of the year. At home, the critical response was very positive and the quality of the film, in comparison to other Peruvian works released in the last 12 months, is undeniable. “The Vanished Elephant” tells the cryptic story of a writer whose girlfriend disappears without a trace. After receiving a series of strange photographs, he delves into deceitful conspiracy that defies the lines between reality and fiction. Fuentes-Leon debut feature “Undertow” was submitted to the Academy back in 2010. Enrica Perez’ “Climas” about three Peruvian women from different walks of life and Héctor Gálvez forensic mystery “Nn” have both screened at several international festivals, and though they are much smaller film’s than “The Vanished Elephant,”either of them could be the next best choice to become Peru’s Oscar entry. Less likely titles include “Videophilia,” “Solos,” and historical drama “Gloria del Pacífico.”
The Philippines
"Trap" (Taklub)
Dir. Brillante Mendoza
Isa: Films Distribution
U.S. Distribution: None Yet
Filipino Release Date: Unknown
Brillante Mendoza is one the Philippines most acclaimed auteurs and yet none of his films have ever been selected to represent the Southeast Asian nation at the Oscars. His latest work, “Trap,” won Special Mention from the Ecumenical Jury at Cannes and it’s the prime contender to travel to L.A. this year. “Trap” follows a group of survivors soon after Typhoon Haiyan devastated a great part of the country. The film stars Filipino actress Nora Aunor, who also the lead in Mendoza’s “Thy Womb,” which was the Filipino entry at the Golden Globes a couple years back. Given that Mendoza’s work has never been selected, there is a chance he might miss out once more. If that happens, the film that could benefit is Paul Soriano's Manny Pacquiao biopic titled “Kid Kulafo,” which would evidently ring a bell with Americans. Other films to be considered include “Justice,” also starring Aunor, “Crocodile,” or even lighthearted comedy “English Only, Please.”
Russia
"Sunstroke"
Dir. Nikita Mikhalkov
Isa: Wild Bunch
U.S. Distribution: None Yet
Russian Release Date: October 4th, 2014
Even after winning the Golden Globe and being nominated for an Academy Awards, Andrey Zvyagintsev “Leviathan” couldn’t get the Best Film award from the Russian Academy. Instead, they decided to bestow that honor on veteran filmmaker Nikita Mikhalkov's period piece "Sunstroke.” This is the type of film that Russia loves to submit: patriotic, historical, and epic. Even though last year the Russian selection committee showed they could overlook their political agenda to ensure the best film represented the country, this year they will go back to their old ways. This is not to say “Sunstroke” is a bad film, as hardly anyone outside of Russia has seen, but it does mean that other more daring offers like Yuriy Bykov's festival darling “The Fool” and Aleksey German's “Under Electric Clouds" have little hope at becoming the country’s entry and getting the exposure that comes with it. Mikhalkov won the Oscar in for “Burnt by the Sun” in 1995 and was nominated again for "12" in 2008, which means he will be hard to beat this year. "The Fool" would be a much more interesting selection but its story about a regular citizen fighting the corrupt system might prove too controversial. There is also another war epic titled "Batalion" by Dmitriy Meskhiev, which could pull off a surprise.
Serbia
"Enclave" (Enklava)
Dir. Goran Radovanovic
PC: Nana Filam
U.S. Distribution: None Yet
Serbian Eelease Date: March 19, 2015
Serbia’s 6-film shortlist includes worlds that deal with a variety of subjects, from the recurrent tales of war and its aftermath, triumphant sports stories, and even the peculiar case of a boy who grew up wild in the woods. Of all these possibilities, the film that seems to have the most gravitas is Goran Radovanovic's “Enclave,” a film about the ethnic divide in Kosovo and the atrocities that perpetuates. This is definitely not the film with the most international exposure, but the story might be enough to warrant its submission. Films that deal with similar issues like, “Circles,” have been previous selected. But the Serbian committee wants to stay away from both war and sports dramas, they might go with Vuk Rsumovic “No One’s Child” which did very well at a few festivals including Venice and Palm Springs. It could either way. Original comedy "Monument to Michael Jackson" could also be a more lighthearted choice. The shortlist is completed by "We Will Be the World Champions"," The Man Who Defended Gavrilo Princip," and "The Disobedient" (Sundance 2014).
Spain
"Ma Ma"
Dir. Julio Medem
Isa: Seville International
U.S. Distribution: None Yet
Spanish Release Date: September 11, 2015
For a long time I had hope that Spain would find a loophole and submit their most honored film at this year’s Goya Awards, “Marshland” (La Isla Minima), but that seems like a farfetched hope now. Luckily, another film that looks like a winner will be released just in time. “Ma Ma” directed by Julio Medem and starring Academy Award-winner Penelope Cruz has Oscar written all over it. Cruz plays a mother diagnosed with cancer and whose ferocious battle with the disease will reinvigorate her love for life. The actress also served as a producer in what has become one of the most anticipated films of the year. The only films that could challenge are coming-of-ager “A Cambio de Nada” and Basque-language drama “Loreak.” The former appears to be feel-good story that might seem slight in comparison to both “Ma Ma” and “Loreak,” which deals with a woman who starts receiving flowers from a mysterious sender. “Magical Girl” is a brilliantly twisty film, but being so edgy it will probably be considered to risky for the Oscar race. Penelope Cruz’ star power will decide this race.
Sweden
"A Pigeon Sat on a Branch Reflecting on Existence" (En duva satt på en gren och funderade på tillvaron)
Dir. Roy Andersson
Isa: Coproduction Office (Paris)
U.S. Distribution: Magnolia Pictures
Swedish Release Date: November 14th, 2014
The two previous chapters sin Andersson’s trilogy about being human were submitted to AMPAS, and even if they didn’t get a nomination, it’s hard to imagine them not submitting “A Pigeon.” The film has been critically acclaimed and it won the Golden Lion at last year’s Venice Film festival. Furthermore, it has already been released in the U.S. by Magnolia, the company that handled last year’s Swedish submission, “Force Majeure.” While I’d love to see Andersson be selected, there are several other films that could prevent that from happening. Kay Pollack, who earned Sweden’s most recent nomination for “As It Is in Heaven,” has a new film opening in early September titled “Heaven on Earth.” Depending on how that film is received the tables may or may not turn. The third strongest option is the romantic costume drama “Gentlemen,” which won several awards from the Swedish Academy and has already been picked up for U.S. distribution by, of course, Magnolia. Smaller, yet worthy candidates, include “My Skinny Sister” and “Flocking,” both of which premiered in Berlin.
Switzerland
"Vanity" (La Vanité)
Dir. Lionel Baier
Isa: Wide
U.S. Distribution: None Yet
Swiss Release Date: September 2, 2015
Out of the 7 films shortlisted by the Swiss, the one that immediately stands out is dark comedy “Vanity.” The film just premiered at Locarno and it stars Spanish actress, and one of Almodovar’s favorites, Carmen Maura, as well as Patrick Lapp. Although the film deals with suicide, the approach seems to be very comedic. In a list of several obscure titles, “Vanity” should come out on top. A second option could be Stina Werenfels' “Dora or the Sexual Neuroses of Our Parents,” which screened in Berlin’s Panorama section and tells the story of a mentally disabled woman discovering her sexuality. “War” by Simon Jaquemet, about a rebellious teenager, had some festival play as well but is less likely to be chosen. The other four titles in the shortlist are: “Pause,” doc “Iraqi Odyssey,” “Chubby,” and “L’oasis des mendiants.”
Taiwan
"The Assassin" (聶隱娘)
Dir. Hsiao-hsien Hou
Isa: Wild Bunch
U.S. Distribution: Well Go USA Entertainment
Taiwanese Release Date: August 28th, 2015
There is really no race here. “The Assassin” will be Taiwan’s entry almost certainly. Winner of the Best Director Award at the Cannes Film Festival and clearly one of the best reviewed films of the year, this martial arts epic, which is said to showcase marvelous imagery, should be consider a strong contender. I can’t see Taiwan not choosing the film, but there are still other films that could be considered. Of those the most viable, but very distant, second choice could be Tso-chi Chang's “Thanatos, Drunk,” which was awarded in Berlin and received six prizes at the Taipei Film Festival. The film revolves around to brothers in Taipei trying to find jobs.
Thailand
"Cemetery of Splendor" (รักที่ขอนแก่น)
Dir. Apichatpong Weerasethakul
Isa: The Match Factory
U.S. Distribution: Strand Releasing
Thai Release Date: Unknown
It was a great year for Thai art house cinema, which means the country has several prominent titles to choose from. Strangely enough, even when there are films with international recognition, Thailand often decides to submit a quirky romantic comedy or a random horror film. The reasons behind their selections are unknown. Still, assuming that they will pay attention to their most respected filmmakers, the number one choice should be "Cemetery of Splendor." However, Apichatpong Weerasethakul's films are not as well liked in his homeland are they are abroad, but it seems irrational for them not consider the film. It might be too abstract for AMPAS’ taste, but it’s still the most prestigious work. Other possibilities include “How to Win at Checkers (Every Time)," which is partially in English, “The Blue Hours” (Berlin’s Panorama), and Rotterdam’s “Vanishing Point.” Of course, there are scores of more commercial titles from which the committee might pick.
Turkey
"Mustang"
Dir. Deniz Gamze Ergüven
Isa: Kinology
U.S. Distribution: Cohen Media Group
Turkish Release Date: Unknown
Last year Nuri Bilge Ceylan’s Palme d’Or-winning film “Winter Sleep” failed to receive a nomination, perhaps due to it’s length and cerebral screenplay. This year another title out of Cannes shows more promise. “Mustang” tells the story of five sisters living in a small village and subjected to the sexist prejudices of the townspeople. With extensive festival play and in the hands of Cohen Media Group - the company behind this year’s nominee “Timbuktu" - Deniz Gamze Ergüven’s film is the ideal pick. Sundance’s “Ivy” by Tolga Karaçelik, about a group of men trapped aboard a ship could definitely be a top contender. Kutlug Ataman's “Kuzu,” winner of the C.I.C.A.E. Award in Berlin’s Panorama section would be the third most likely film to represent Turkey at the Oscars. Lastly, “The Miracle,” a romantic period piece, is a large local production that could be considered, but lacks the festival exposure of the other three.
Venezuela
"Gone With the River" (Dauna, Lo que lleva el río)
Dir. Mario Crespo
Isa: Centro Nacional Autonomo de Cinematografía
U.S. Distribution: None Yet
Venezuelan Release Date: March 20, 2015
With Alberto Arvelo’s “The Liberator,” the South American nation got as close as it’s ever been to Oscar glory this year. The biopic about Simón Bolívar starring Edgar Ramírez managed to become one of the 9 shortlisted finalists out of 83 submissions. Venezuela has several options to submit for the 88th Academy Awards, but they are much smaller in magnitude on this occasion. Appearing at the NATIVe sidebar of the Berlinale, “Dauna, lo que lleva el río” or “ Gone with the River” is the most important Venezuelan film of the year and gives voice to the country’s indigenous people by telling story that rarely gets seen on screen. On the other hand, the film “3 Beauties,” about another of Venezuelan’s most well-known obsessions, beauty pageants, has received critical praise at home but it seems to be a lighter satirical comedy. Their Oscar entry could be either one of the two, but I think they will go with the more socially relevant story. A smaller film, “Espejos,” could be part of the conversation but is possibilities are very limited.
- 8/26/2015
- by Carlos Aguilar
- Sydney's Buzz
Flashmob
Director: Michael Haneke // Writer: Michael Haneke
The cinema of Michael Haneke may be described as cold, distant, even isolating, as the Austrian auteur prizes the examination of estrangement and the discontent of families or individuals trapped within the confines of what we refer to as modern society. He also cares little for coddling audiences, often directly criticizing what we’ve come to expect and desire from cinematic narratives. Starting out as a director in television in the early 1970′s, it would be his 1989 feature debut The Seventh Continent that first garnered attention, followed by 1992′s Benny’s Video (starring Angela Winkler), which played at Director’s Fortnight, as did his 1994 title 71 Fragments of a Chronology of Chance. In 1997, Haneke would direct a television adaptation of Kafka’s The Castle, starring Susanne Lothar and Ulrich Muhe, the acting couple that would headline one of his most galvanizing titles also that year with Funny Games,...
Director: Michael Haneke // Writer: Michael Haneke
The cinema of Michael Haneke may be described as cold, distant, even isolating, as the Austrian auteur prizes the examination of estrangement and the discontent of families or individuals trapped within the confines of what we refer to as modern society. He also cares little for coddling audiences, often directly criticizing what we’ve come to expect and desire from cinematic narratives. Starting out as a director in television in the early 1970′s, it would be his 1989 feature debut The Seventh Continent that first garnered attention, followed by 1992′s Benny’s Video (starring Angela Winkler), which played at Director’s Fortnight, as did his 1994 title 71 Fragments of a Chronology of Chance. In 1997, Haneke would direct a television adaptation of Kafka’s The Castle, starring Susanne Lothar and Ulrich Muhe, the acting couple that would headline one of his most galvanizing titles also that year with Funny Games,...
- 1/9/2015
- by Nicholas Bell
- IONCINEMA.com
From locked-in Cannes bait like the Dardennes brothers to outliers like Disney's new take on Sleeping Beauty, we list the films we predict will be vying for the prizes come May
The Oscars are over; Sundance is but a memory; SXSW has been overrun with musos. The film industry's eyes, forever trained forward, are now squinting against the glare of the south of France and the Cote d'Azur: Cannes is on its way. As ever, the speculation has already begun as to which films the festival will tie up for its official selection: Cannes's bespoke mix of esoteric auteurism, finger-poking controversy and shameless glitz. We know the Grace Kelly biopic Grace of Monaco will be there (it was announced as opening film back in January) and we're fairly sure the extended cut of Nymphomaniac Volume II has a spot reserved for it. But other than that, it's anyone's guess. Here...
The Oscars are over; Sundance is but a memory; SXSW has been overrun with musos. The film industry's eyes, forever trained forward, are now squinting against the glare of the south of France and the Cote d'Azur: Cannes is on its way. As ever, the speculation has already begun as to which films the festival will tie up for its official selection: Cannes's bespoke mix of esoteric auteurism, finger-poking controversy and shameless glitz. We know the Grace Kelly biopic Grace of Monaco will be there (it was announced as opening film back in January) and we're fairly sure the extended cut of Nymphomaniac Volume II has a spot reserved for it. But other than that, it's anyone's guess. Here...
- 3/14/2014
- by Xan Brooks, Andrew Pulver
- The Guardian - Film News
★★☆☆☆ UK audiences have acquired quite the taste for Scandinavian crime drama, with shows like The Killing, Borgen and Wallander all received with open arms. However, despite this Scandi-crime obsession, the name 'Roland Hassel' still remains unknown - and judging by Måns Månsson's arduous debut, it's going to stay that way. A popular 1980s television detective, Hassel now lives on in Månsson's new quasi-docudrama, but audiences expecting a gloomy suspense thriller should probably take a step back; Hassel - Privatspanarna (2012) has very little in common with films like Insomnia or The Girl with the Dragon Tattoo.
An example of form surpassing function, this stripped-back hybrid piece sees the now retired Roland Hassel (played by the original Hassel - Lars-Erik Berenett) attempting to uncover the identity of the assassin who murdered real-life former Swedish prime minister Olof Palme (Roland Eriksson). Without access to any formal police records, Hassel must gather what...
An example of form surpassing function, this stripped-back hybrid piece sees the now retired Roland Hassel (played by the original Hassel - Lars-Erik Berenett) attempting to uncover the identity of the assassin who murdered real-life former Swedish prime minister Olof Palme (Roland Eriksson). Without access to any formal police records, Hassel must gather what...
- 6/24/2013
- by CineVue UK
- CineVue
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