As a cinephile with a penchant for historical dramas and a soft spot for tales of resilience, I find myself drawn to the diverse array of films vying for the 2024 Academy Awards from various countries. Among them, one film that stands out is “Vermiglio” from Italy.
Initially, a grand total of 85 countries had presented their best entries for the International Feature Film Oscar at the 97th Academy Awards. However, over the past week, the Academy of Motion Pictures Arts and Sciences narrowed the contenders down to just 15 films that are now in competition for a nomination.
A number of leading candidates advanced to the competition, such as Jacques Audiard’s “Emilia Pérez”, a French entry, the Danish film “The Girl With the Needle” directed by Magnus von Horn, “I’m Still Here” from Brazilian director Walter Salles, and “The Seed of the Sacred Fig”, an Iran-set movie submitted by co-production country Germany, which was directed by Mohammad Rasoulof. (In this version, I have attempted to maintain the original structure while making it easier to read and understand.)
However, there were some omissions and unexpected selections in the list. In terms of regional representation, Europe takes the lead with 10 out of the 15 nominated films, while North America has two representatives: Matthew Rankin’s Canadian entry “Universal Language” and “I’m Still Here” by Salles. Africa only has one contender left, Mati Diop’s Senegalese documentary “Dahomey.” There are also two nominees from Asia, including the Palestinian film “From Ground Zero” and Thailand’s “How to Make Millions Before Grandma Dies,” which hasn’t been reviewed by THR yet.
Before the top five nominees for the Oscars are announced on January 17th, take a look at the reviews for the 13 international films that made the Academy’s shortlist, which you can find here. The final round of voting for the Oscars begins at 9 a.m. PT on February 11th and ends at 5 p.m. PT on February 18th.
‘Armand’ (Norway)
Halfdan Ullmann Tøndel has made it to the Oscars with his first film, a psychological drama that takes place within an elementary school. In this story, the actress Renate Reinsve from The Worst Person in the World and Ellen Dorrit Petersen find themselves in conflict over an alleged bullying incident involving their respective young sons.
It’s worth mentioning that the current director is actually a grandchild of Ingmar Bergman, who received the prestigious award for Best Foreign-Language Film Oscar 40 years ago with the movie “Fanny and Alexander.
The screening at Cannes has generally been well-received since its premiere in the Un Certain Regard section, as reported by THR. Notably, the film Armand has generated some foreign sales. The review further praised the film’s ambition and risk-taking efforts as largely commendable.
This passage highlights that while some might struggle to spot connections to the artistic legacy of Ingmar Bergman and Liv Ullmann, who are the grandparents of Ullmann Tøndel, the modern approach in his directing seems more aligned with current Nordic cinema, characterized by its whimsical elements and offbeat humor. Instead, it appears that he deviates from the formal style typically associated with his ancestors.
Read the full review.
‘Dahomey’ (Senegal)
As a fervent admirer, I’m sharing my thoughts on how Mati Diop, once an actress, now a director, built upon her breakthrough with “Atlantics” by creating this documentary essay that delves into the complexities of colonialism and cultural heritage. It centers around the return of 26 regal artifacts stolen by French colonial forces in 1892.
The film that won Berlin’s Golden Bear for Best Film has received praise wherever it went during its journey on the festival circuit.
According to THR’s assessment, the document containing imaginative components, portraying art as a storehouse of memories, is described as “deeply nuanced and meaningful.” The review additionally praised its profound themes and exquisite aesthetics.
In summary, the review states that the work is as graceful and multi-layered as Ava DuVernay’s ‘Origin’, with Diop seamlessly blending poetry and politics, avoiding any preachy or pedantic tone.
Read the full review.
‘Emilia Pérez’ (France)
Jacques Audiard’s Netflix fusion of genres is a captivating tale about a transgender individual’s journey into adulthood, intertwined with the intricate web of Mexican criminal activities, and featuring an impressive soundtrack – this unique production was awarded the prestigious Cannes jury prize.
It follows a defense lawyer, played by Zoe Saldaña — in her first Spanish-language role — helping a cartel leader fake death and undergo gender affirmation surgery to live authentically as a woman. The cast including Saldaña, Selena Gomez, Adriana Paz and breakout star Karla Sofía Gascón as Emilia Pérez jointly won the best actress prize on the Croisette.
The “freshingly unique crime musical” was praised for its versatility in THR’s review. It seamlessly moves through various genres, including a natural humor reminiscent of Almodóvar, melodrama, noir, social realism, a touch of telenovela-like camp, and a final build-up into suspense with a tragic finale. Essentially, it’s not just about crime and redemption; it also offers a diverse blend of genres.
The statement translates to: “Audiard created something new, lively, and emotionally stirring, supported by its own serene, ascending strength.
Read the full review.
‘Flow’ (Latvia)
In the movie directed by Gints Zilbalodis, a cat that has been forced to leave its home due to flooding embarks on a perilous journey across treacherous waters. To survive and find a new place to live, it forms alliances with a bird, a dog, a lemur, and a capybara.
A big winner at the Annecy animation film festival this year, it is in the Oscar running.
The Critic from THR praised the film as a captivating ecological fable emphasizing the importance of community, skillfully crafting enchantment through 3D animation. It leaves viewers purring with delight.
In essence: “This film is fantastic for kids, as it subtly explores themes of friendship’s ebb and flow and the value of mutual trust. These ideas are seamlessly woven into the storyline without being overly obvious. It’s not just a kids’ movie; it also captivates adults with its enchanting visuals and characters that exude charm and distinct personalities.
Read the full review.
‘The Girl With the Needle’ (Denmark)
Magnus von Horn’s historical thriller in black-and-white, premiered at Cannes, carries a chilling relevance today. The abortion-themed drama, set post-World War I Denmark, portrays the story of a factory worker who becomes jobless, deserted, and expecting. Faced with the tough decision between an unsafe, illegal abortion or the services of a questionable underground adoption service, she must navigate her way through this challenging situation.
According to THR’s review, the movie “reaches a heart-wrenching conclusion, as tense as a tightened wire of a piano,” and they described it as a “grim yet relevant Danish story revolving around an unplanned pregnancy.
The reviewer also praised the movie for its selection of protagonist. They pointed out that other directors might have chosen to capitalize fully on the film’s true crime aspects by making another character the main focus. However, von Horn, who previously directed Sweat, a film about a young woman breaking down, chose instead a complex yet relatable everywoman as the central character.
As a fan, I’d like to praise the captivating performance of Danish actress Vic Carmen Sonne in the roles she played in “Holiday” and “Godland.” In particular, her portrayal of Karoline, a delicate yet strong seamstress residing in post-World War I/early 1920s Copenhagen, truly touched my heart. Karoline finds herself in a challenging situation when her affluent lover, played by Joachim Fjelstrup, impregnates her but refuses to marry her, leaving her in a precarious position. Sonne masterfully conveys the complexity of Karoline’s emotions, bringing depth and nuance to her character that I found truly moving.
Read the full review.
‘I’m Still Here’ (Brazil)
Film director Walter Salles gained global recognition through his 1998 movie, “Central Station,” and has been garnering critical acclaim for his most recent work.
The movie director “brings back a compelling tale of a fractured family’s resilience,” as THR emphasized in its critique. “Numerous impactful films have been produced about the 21-year military dictatorship in Brazil, from 1964 to 1985. … It’s not usual, though, for the spirit of protest against the atrocities of junta rule to be portrayed through such a personal perspective.
The film narrates the real-life account of the Paiva family following the disappearance of their patriarch Rubens (portrayed by Selton Mello), a former congressman, from his Rio de Janeiro residence in 1971, supposedly for testifying, and thereafter neither seen nor heard since. Salles first encountered the family towards the end of the 1960s and spent a considerable part of his young years within their household.
The main actress in the film has received considerable acclaim. “Walter Salles’ 1998 international breakthrough, Central Station, earned an Oscar nomination for the outstanding Fernanda Montenegro,” THR’s review highlighted. “In her 90s now, the actress appears at the end of the director’s first feature in his homeland Brazil in 16 years, the heart-wrenching I’m Still Here (Ainda Estou Aqui), taking on a role that demands her to communicate solely through her expressive eyes.
Read the full review.
‘Kneecap’ (Ireland)
A humorous, irreverent hip-hop comedy starring Michael Fassbender is creating a stir in the global competition for Oscars.
In the lively comedy set in Belfast titled “Kneecap“, one of the main characters frequently exposes his backside, which bears the message “Brits Out”. The Hollywood Reporter noted that this character is indeed quite “mischievous” or “playful” in their review.
This joyfully rebellious production provides a backstory for the actual band in the title, who convincingly portray themselves. Notably, they are a hip-hop group that mainly raps in Irish Gaelic. In an energetic follow-up to his documentary ‘One Rogue Reporter,’ director Rich Peppiatt skillfully combines fact with larger-than-life mythology in this film.
The outcome is highly successful, or as THR put it: “In summary, this movie embodies the essence of warmth and dark humor which, without intending to oversimplify, are characteristic traits of the area.
Read the full review.
‘Santosh’ (United Kingdom)
Sandhya Suri’s initial story in the format of a police procedural, set in India, centers around a horrific crime incident.
Shahana Goswami plays the role of Santosh, a young Hindu widow who takes over her late husband’s position as a police constable and encounters systemic corruption within the institution. She teams up with Inspector Sharma, a hardened veteran detective portrayed by Sunita Rajwar, to tackle a gruesome murder case involving a teenage girl from a lower caste community.
In the review from THR, they emphasized it as “intelligent and persuasive.” They additionally commended a confident lead, guided by a steady hand, and actors who delivered restrained portrayals.
The outcome is a police drama that simultaneously offers insights into the nation’s condition. As the critic pointed out, the director skillfully infuses this subtle, personal storyline with elements that depict the political landscape of India.
Read the full review.
‘The Seed of the Sacred Fig’ (Germany)
The film representing Germany in international Oscar contests is the chilling Iran-based drama directed by exiled filmmaker Mohammad Rasoulof, who narrowly fled Iran on foot just before its debut at Cannes Film Festival where it garnered a special accolade. To begin with, the story unfolds as a domestic drama centered around a devout judge, loyal to the regime, and his family. However, as political repression escalates, it morphs into a suspenseful tale of terror, leaving the judge in a heart-wrenching predicament: to stand by his family or the Mullahs.
According to THR’s review, the film “powerfully exposes Iranian oppression as seen through the lens of a disintegrating family” was primarily filmed secretly and predominantly takes place within a gloomy apartment in Tehran. The review further described it as both politically outspoken and deeply personal.
The analysis also found: “Isn’t it rather excessive? Absolutely. But is it more extreme than the events occurring in Tehran’s streets? Not at all. As Rasoulof seamlessly blends real and fictional scenes, we understand that the family’s experiences mirror the hardships the entire nation has been enduring.
Read the full review.
‘Touch’ (Iceland)
This romantic drama set in Iceland was helmed by Baltasar Kormákur, the same director behind the 2022 survival thriller “Beast” featuring Idris Elba. The film was jointly penned by Baltasar and Ólafur Jóhann Ólafsson, with inspiration drawn from Olafur’s 2022 novel about a man on a quest to reconnect with his long-lost first love, who vanished half a century ago.
According to THR’s assessment, the outcome is described as a “tender exploration of passion held aloft by the constraints of time and space.
Director Baltasar Kormákur, known for action thrillers and survival tales, is stepping away from this genre to return to the romantic foundations of his 2000 breakout film, ‘101 Reykjavik’. He is now focusing on a mature, cross-cultural melodrama that spans decades,” the statement highlights.
The review states that “Touch” is both subtly powerful and consistently engaging, with its emotional content always being genuine. It describes the film as a minor-key production that remains captivating throughout.
Read the full review.
‘Universal Language’ (Canada)
Matthew Rankin’s offbeat comedy envisions a scenario where French and Persian are recognized as Canada’s primary languages. This quirky tribute to Iranian cinema unfolds in the Canadian cities of Montreal and Winnipeg, earning the first-ever audience award in the Directors’ Fortnight section at Cannes.
THR‘s review characterized the film as a “strange yet captivating experimental comedy.” They added: “Featuring Rankin himself alongside a diverse cast of local Farsi speakers, ranging from young to old, the movie is somewhat challenging to summarize in writing.
Similar to Rankin’s initial film, The Twentieth Century, it pays tribute to classic movies. While not being a die-hard fan of Iranian classics is not required, as pointed out by the THR reviewer, having that background knowledge can enhance the viewing experience with additional layers.
I couldn’t help but notice the broader implication he made: “By transforming his ordinary hometown into an enchanting, nostalgic realm (even though it’s a rather specific nostalgia, catering mostly to Criterion Channel enthusiasts), Rankin appears to be chasing after the universal tongue of cinema itself.
Read the full review.
‘Vermiglio’ (Italy)
As a fervent admirer, let me share my thoughts on a compelling Italian Oscar nominee: I found myself immersed in a gripping tale that unfolds around a Sicilian soldier who abandons his duty during World War II. This deserter unexpectedly appears in a tranquil Alpine hamlet in 1944, and the lives of a local educator and his kin are forever transformed as a result.
Movie director Maura Delpero derived motivation for her award-winning movie (Silver Lion at Venice) by delving into her personal family history.
In the midst of World War II, the tranquil mountain village of Vermiglio in Europe remains untouched by conflict. Daily life continues here, much as it has for centuries, though there are a few discreet alterations to accommodate the current situation. THR‘s reviewer noted this.
The captivating image of a rapidly fading rural lifestyle lingers on, it was concluded. As demonstrated in her last critically acclaimed play Maternal, Delpero possesses a unique talent for directing actors, particularly young and amateur performers. There are many newcomers to work with here, primarily children who are integral to the central Delpero family.
Read the full review.
‘Waves’ (Czech Republic)
1968, in what was previously referred to as Czechoslovakia, has been portrayed frequently in films and TV shows. However, the 58th Karlovy Vary International Film Festival marked the world premiere of Waves, a fresh perspective on events leading up to and following the invasion by Soviet Union-led Warsaw Pact troops. The story revolves around an international news office at Czechoslovak Radio, whose broadcasts were crucial during the Soviet occupation.
Director Jiri Madl shared with THR that one of the reasons he chose to incorporate historical footage in his work was influenced by Peter Jackson’s 2018 World War I documentary, “They Shall Not Grow Old.
The THR review characterized the film as an “exciting endorsement of the significance of autonomous journalism” and also labeled it as a “compelling, fast-paced narrative about a group of reporters relentlessly chasing the facts.
Furthermore, it praised its blend of political and personal narratives. “Waves delves into ethical dilemmas through a heartfelt narrative about two brothers battling to make it,” the review stated. “Following the demise of their parents, Tomás (played remarkably by Vojtech Vodochodský), a young man detached from politics, takes on responsibility for his adolescent brother Paja (Ondrej Stupka). Their circumstances are challenging: In a demonstration of their financial struggles, at the outset, Tomás trims mold off a loaf of sourdough bread to augment a meager meal.
Read the full review.
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2024-12-23 18:56