Gap financing event to present 56 feature film and Vr projects.
UK director Steve McQueen’s upcoming documentary The Occupied City is among 56 projects selected for the Venice Production Bridge, the gap financing event of the Venice Film Festival, which is due to take place from September 2-12.
The three-day industry event, running September 4-6, will unveil 28 feature-length fiction and documentary projects and 12 immersive story projects.
It will also present 13 Vr projects and three cinema projects developed under the auspices of the Biennale College Cinema programme aimed at supporting emerging talents.
More than 270 project were submitted in total.
The event, involving pitches and one-on-one meetings,...
UK director Steve McQueen’s upcoming documentary The Occupied City is among 56 projects selected for the Venice Production Bridge, the gap financing event of the Venice Film Festival, which is due to take place from September 2-12.
The three-day industry event, running September 4-6, will unveil 28 feature-length fiction and documentary projects and 12 immersive story projects.
It will also present 13 Vr projects and three cinema projects developed under the auspices of the Biennale College Cinema programme aimed at supporting emerging talents.
More than 270 project were submitted in total.
The event, involving pitches and one-on-one meetings,...
- 6/23/2020
- by 1100388¦Melanie Goodfellow¦69¦
- ScreenDaily
Exclusive: Screenwriter Janine Eser (Fanie Fourie’s Lobola) has been brought on to adapt the screenplay to Trevor Noah’s bestselling memoir, Born a Crime: Stories from a South African Childhood, which has Oscar-winning actress Lupita Nyong’o attached to star. Liesl Tommy, the director behind the upcoming Jennifer Hudson-starring Aretha Franklin biopic, Respect, is directing Born a Crime for Paramount Players.
Nyong’o will play Noah’s mother, Patricia, who served as an important figure to her son in his formative years. Set during the waning days of apartheid and the transition into the new South Africa, the memoir details the personal and often painful story of Noah’s youth. At the center of it all is Noah’s fearless mother, Patricia. In 2009, while returning from church service, Patricia was shot in the head by his stepfather but miraculously survived.
Noah is producing the project under his Day Zero Productions...
Nyong’o will play Noah’s mother, Patricia, who served as an important figure to her son in his formative years. Set during the waning days of apartheid and the transition into the new South Africa, the memoir details the personal and often painful story of Noah’s youth. At the center of it all is Noah’s fearless mother, Patricia. In 2009, while returning from church service, Patricia was shot in the head by his stepfather but miraculously survived.
Noah is producing the project under his Day Zero Productions...
- 4/16/2019
- by Amanda N'Duka
- Deadline Film + TV
Milan Peschel (Freytag), Max Hubacher (Willi Herold) and Frederick Lau (Kipinski) in Robert Schwentke's The Captain (Der Hauptmann)
In his Hollywood career Robert Schwentke has directed Bruce Willis, Helen Mirren and Morgan Freeman for Red; Shailene Woodley, Jeff Daniels, Naomi Watts, and Miles Teller in Allegiant; Ryan Reynolds, Jeff Bridges and Mary-Louise Parker for R.I.P.D., and Jodie Foster, Peter Sarsgaard and Sean Bean for Flightplan.
In the final installment of my conversation with The Captain (Der Hauptmann) director/screenwriter Robert Schwentke he speaks about Alexander Fehling (star of Giulio Ricciarelli's Labyrinth Of Lies) and Frederick Lau's reaction to the captain's uniform, cites a line delivered by Max von Sydow in Woody Allen's Hannah And Her Sisters, agrees with Whit Stillman on Stanley Kubrick's expatriate perspective, recalls the reaction to his Family Jewels (Eierdiebe), and states that "every character in The Captain has a reason for what they're doing.
In his Hollywood career Robert Schwentke has directed Bruce Willis, Helen Mirren and Morgan Freeman for Red; Shailene Woodley, Jeff Daniels, Naomi Watts, and Miles Teller in Allegiant; Ryan Reynolds, Jeff Bridges and Mary-Louise Parker for R.I.P.D., and Jodie Foster, Peter Sarsgaard and Sean Bean for Flightplan.
In the final installment of my conversation with The Captain (Der Hauptmann) director/screenwriter Robert Schwentke he speaks about Alexander Fehling (star of Giulio Ricciarelli's Labyrinth Of Lies) and Frederick Lau's reaction to the captain's uniform, cites a line delivered by Max von Sydow in Woody Allen's Hannah And Her Sisters, agrees with Whit Stillman on Stanley Kubrick's expatriate perspective, recalls the reaction to his Family Jewels (Eierdiebe), and states that "every character in The Captain has a reason for what they're doing.
- 8/10/2018
- by Anne-Katrin Titze
- eyeforfilm.co.uk
The Captain (Der Hauptmann) director Robert Schwentke: "There's certain conventions in German cinema." Photo: Anne-Katrin Titze
In the first instalment of my conversation with Robert Schwentke at the Quad Cinema, the director of Red, R.I.P.D., and Flightplan talks about his latest film The Captain (Der Hauptmann), shot by Florian Ballhaus and starring Max Hubacher with Alexander Fehling, Milan Peschel, Frederick Lau, Bernd Hölscher, Waldemar Kobus, Samuel Finzi, and Wolfram Koch.
Max Hubacher stars as Willi Herold in The Captain
Robert Schwentke also discusses with me the significance of the uniform for Emil Jannings in Fw Murnau's Der Letzte Mann; Heinz Rühmann in Helmut Käutner's Der Hauptmann Von Köpenick, based on Carl Zuckmayer's play; being a "big fan" of Bierkampf director and star Herbert Achternbusch; Heinz Schirk's Die Wannseekonferenz and Theodor Kotulla's Aus einem Deutschen Leben; certain conventions of German cinema, and...
In the first instalment of my conversation with Robert Schwentke at the Quad Cinema, the director of Red, R.I.P.D., and Flightplan talks about his latest film The Captain (Der Hauptmann), shot by Florian Ballhaus and starring Max Hubacher with Alexander Fehling, Milan Peschel, Frederick Lau, Bernd Hölscher, Waldemar Kobus, Samuel Finzi, and Wolfram Koch.
Max Hubacher stars as Willi Herold in The Captain
Robert Schwentke also discusses with me the significance of the uniform for Emil Jannings in Fw Murnau's Der Letzte Mann; Heinz Rühmann in Helmut Käutner's Der Hauptmann Von Köpenick, based on Carl Zuckmayer's play; being a "big fan" of Bierkampf director and star Herbert Achternbusch; Heinz Schirk's Die Wannseekonferenz and Theodor Kotulla's Aus einem Deutschen Leben; certain conventions of German cinema, and...
- 7/27/2018
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Industry Days Alliance For Development (Afd) strand to host eight European projects.
Update: Project addition: Ffa – MiBACT: The Guard by Giulio Ricciarelli (Labyrinth Of Lies). Producer: Oliver Schütte, tellfilm Deutschland Ug.
New projects from the co-producers of The Nun and Becoming Zlatan and War writer-director Simon Jaquemet are among eight feature projects selected for Locarno’s Industry Days development and co-production strand Alliance For Development (Afd).
The platform is designed to foster co-developments between France, Germany, Italy and Switzerland by facilitating cooperation between existing co-development funds, including France’s Cnc, Italy’s MiBACT, and Germany’s Ffa.
Among selected projects this year are new films from Belle Epoque Films, the German co-producer of Guillaume Nicloux’s 2013 drama The Nun, and Italian outfit Indyca, which co-produced 2015 documentary Becoming Zlatan.
As Switzerland does not share a similar development bilateral fund, three Swiss projects looking for German, French and Italian co-producers have also been selected to join the initiative as special...
Update: Project addition: Ffa – MiBACT: The Guard by Giulio Ricciarelli (Labyrinth Of Lies). Producer: Oliver Schütte, tellfilm Deutschland Ug.
New projects from the co-producers of The Nun and Becoming Zlatan and War writer-director Simon Jaquemet are among eight feature projects selected for Locarno’s Industry Days development and co-production strand Alliance For Development (Afd).
The platform is designed to foster co-developments between France, Germany, Italy and Switzerland by facilitating cooperation between existing co-development funds, including France’s Cnc, Italy’s MiBACT, and Germany’s Ffa.
Among selected projects this year are new films from Belle Epoque Films, the German co-producer of Guillaume Nicloux’s 2013 drama The Nun, and Italian outfit Indyca, which co-produced 2015 documentary Becoming Zlatan.
As Switzerland does not share a similar development bilateral fund, three Swiss projects looking for German, French and Italian co-producers have also been selected to join the initiative as special...
- 6/9/2016
- by andreas.wiseman@screendaily.com (Andreas Wiseman)
- ScreenDaily
Executed with incredible elegance and utmost attention to historical accuracy, Giulio Ricciarelli's "Labyrinth of Lies" deals with the aftermath of WWII when German authorities and the majority of the population refused to acknowledge the magnitude of their involvement in the Holocaust. The film was Germany's Oscar entry in the Best Foreign Language film category at the 88th Academy Awards, where it made it to the 9-film shortlist out of 80 entries,
Ricciarelli's compelling historical drama counts with fantastic lead performance by rising star Alexander Fehling at its core.Fehling plays a prosecutor Johann Radmann, a young man who thinks just like everyone else in his generation until he is faced with the facts of the crimes committed by his fellow countrymen during the war.
Ignorance and indifference towards their country's deeds prevailed among the German population during the years immediately after the war ended. The people did not want to hear that their neighbor, their relative, or their own husband or wife was involved in the murder of millions of people across Europe. Grappling with such devastating guilt was a process that Germany as a country couldn’t begin until the truth was known, and until those who willingly participated were exposed, tried and punished.
In order to explore the ramifications and importance of the country putting its own soldiers on trial, Ricciarelli decided not to focus on the actual trials but rather on the uphill battle that Prosecutor General Fritz Bauer and public prosecutors, personified here via Johann, had to undergo in order to begin to mend the damage that silence and misinformation had caused. Classically crafted with impeccable locations, distinctive production design, perfect costumes, and a certain European flair, “Labyrinth of Lies” is a fantastic example of top-notch filmmaking in service of a resonant story that is thought-provoking, morally complex, and completely engrossing.
Upon its release "Labyrinth of Lies" became a box-office hit both in its homeland and in other European territories such as France. In the U.S. the film enjoyed a substantial release bringing in close to a $1 million The Blu-ray/DVD release by Sony Pictures Classics includes commentary with director , and insightful q&A at the Jewish Film Festival with both director and star, and several deleted scenes.
Ricciarelli's compelling historical drama counts with fantastic lead performance by rising star Alexander Fehling at its core.Fehling plays a prosecutor Johann Radmann, a young man who thinks just like everyone else in his generation until he is faced with the facts of the crimes committed by his fellow countrymen during the war.
Ignorance and indifference towards their country's deeds prevailed among the German population during the years immediately after the war ended. The people did not want to hear that their neighbor, their relative, or their own husband or wife was involved in the murder of millions of people across Europe. Grappling with such devastating guilt was a process that Germany as a country couldn’t begin until the truth was known, and until those who willingly participated were exposed, tried and punished.
In order to explore the ramifications and importance of the country putting its own soldiers on trial, Ricciarelli decided not to focus on the actual trials but rather on the uphill battle that Prosecutor General Fritz Bauer and public prosecutors, personified here via Johann, had to undergo in order to begin to mend the damage that silence and misinformation had caused. Classically crafted with impeccable locations, distinctive production design, perfect costumes, and a certain European flair, “Labyrinth of Lies” is a fantastic example of top-notch filmmaking in service of a resonant story that is thought-provoking, morally complex, and completely engrossing.
Upon its release "Labyrinth of Lies" became a box-office hit both in its homeland and in other European territories such as France. In the U.S. the film enjoyed a substantial release bringing in close to a $1 million The Blu-ray/DVD release by Sony Pictures Classics includes commentary with director , and insightful q&A at the Jewish Film Festival with both director and star, and several deleted scenes.
- 2/18/2016
- by Carlos Aguilar
- Sydney's Buzz
Germany’s hope for a Best Foreign-Language Oscar just got a feather in its cap, as “Labyrinth of Lies” won the MercedesBenz Audience Award from the Palm Springs International Film Festival. “Lies,” directed by Giulio Ricciarelli, is based on true events exposing the government in covering up the crimes of Nazis during World War II. “Everything is Copy,” an emotional look at late Hollywood legend Nora Ephron took the audience prize for best documentary feature. Runners up for the narrative feature include “1944,” “The Brand New Testament” and “The Carer Hungary.” Doc runner ups include “Good American,” “Made in Bangkok” and “Miss Sharon Jones!
- 1/11/2016
- by Matt Donnelly
- The Wrap
Foreign-Language Oscar-shortlisted Labyrinth Of Lies took the Mercedes Benz Audience Award for Best Narrative Feature at the Palm Springs International Film Festival. Director Giulio Ricciarelli’s film chronicled the coverup of German war crimes. Runners-up in the category included: Elmo Nüganen’s 1944 (Estonia), Jaco Van Dormael’s The Brand New Testament (Belgium), Gavin Hood’s Eye in the Sky (UK), Klaus Härö’s The Fencer (Finland), Fina Torres’ Liz in September…...
- 1/11/2016
- Deadline
Jan 10 Update: Giulio Ricciarelli’s German foreign-language Oscar submission Labyrinth Of Lies won on Sunday the Palm Springs Film Festival’s Mercedes-Benz Audience Award for best narrative feature and Jacob Bernstein and Nick Hooker’s Everything Is Copy from the Us earned the documentary award.
On Saturday Hou Hsiao-hsien’s Taiwanese foreign-language Oscar submission The Assassin won the Fipresci Prize at the 27th annual festival.
In other juried award winners announced at a luncheon on January 9, the Fipresci Prize for Best Actor of the Year in a Foreign Language Film went to Sigurður Sigurjónsson and Theodór Júlíusson from Grimur Hakonarson’s Icelandic Oscar submission Rams.
Fipresci’s Best Actress of the Year in a Foreign Language Film went to Alena Mihulová from Slávek Horák’s Czech Oscar submission Home Care.
The New Voices/New Visions competition honoured Xavier Seron’s Death By Death (Belgium-France), while a special mention went to Thithi (India-us) by Raam Reddy.
The...
On Saturday Hou Hsiao-hsien’s Taiwanese foreign-language Oscar submission The Assassin won the Fipresci Prize at the 27th annual festival.
In other juried award winners announced at a luncheon on January 9, the Fipresci Prize for Best Actor of the Year in a Foreign Language Film went to Sigurður Sigurjónsson and Theodór Júlíusson from Grimur Hakonarson’s Icelandic Oscar submission Rams.
Fipresci’s Best Actress of the Year in a Foreign Language Film went to Alena Mihulová from Slávek Horák’s Czech Oscar submission Home Care.
The New Voices/New Visions competition honoured Xavier Seron’s Death By Death (Belgium-France), while a special mention went to Thithi (India-us) by Raam Reddy.
The...
- 1/9/2016
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
There will be another handful (or two) of interviews coming as we march toward Hollywood's High Holy Night on February 28th. But with Oscar nomination voting closing today and so many interviews these past few weeks this seems as good a time as any to ask you to "consider" our official index of interviews from the film year and to take a less daily approach to the remaining one-on-ones.
Actors
Laia Costa (Victoria)
Chris Eigeman (Metropolitan's 25th anniversary)
Nina Hoss (Phoenix)
Jeremy Irvine (Stonewall)
James Ransone (Tangerine & Sinister 2)
Eddie Redmayne (The Danish Girl)
Géza Röhrig (Son of Saul)
next up: Alicia Vikander (The Danish Girl / Ex Machina)
...and super brief chats with Sir Ian McKellen (Mr Holmes), Jane Fonda & Paul Dano (Youth), Michael Keaton (Spotlight), Pilou Asbaek (A War), and Carey Mulligan (Suffragette)
Creatives
Judy Becker (Production Design, Carol)
Odile Dicks-Mireaux (Costumes, Brooklyn)
Jack Fisk (Production Design, The Revenant)
Affonso Gonçalves (Editing,...
Actors
Laia Costa (Victoria)
Chris Eigeman (Metropolitan's 25th anniversary)
Nina Hoss (Phoenix)
Jeremy Irvine (Stonewall)
James Ransone (Tangerine & Sinister 2)
Eddie Redmayne (The Danish Girl)
Géza Röhrig (Son of Saul)
next up: Alicia Vikander (The Danish Girl / Ex Machina)
...and super brief chats with Sir Ian McKellen (Mr Holmes), Jane Fonda & Paul Dano (Youth), Michael Keaton (Spotlight), Pilou Asbaek (A War), and Carey Mulligan (Suffragette)
Creatives
Judy Becker (Production Design, Carol)
Odile Dicks-Mireaux (Costumes, Brooklyn)
Jack Fisk (Production Design, The Revenant)
Affonso Gonçalves (Editing,...
- 1/9/2016
- by NATHANIEL R
- FilmExperience
Labyrinth Of Lies director Giulio Ricciarelli Photo: Anne-Katrin Titze
Giulio Ricciarelli's Oscar shortlisted Best Foreign Language Film candidate, Labyrinth Of Lies, stars Alexander Fehling of Quentin Tarantino's Inglourious Basterds fame, with Johannes Krisch (Frauke Finsterwalder's Finsterworld and Götz Spielmann's Revanche), André Szymanski, Hansi Jochmann, Friederike Becht (Margarethe von Trotta's Hannah Arendt), Johann von Bülow and Mathis Reinhardt, and is dedicated to the late great stage actor, Gert Voss.
"Heimatfilm", Marc Rothemund's Sophie Scholl: The Final Days on the White Rose shot by Martin Langer, Vico Torriani, Caterina Valente and how the costume design of Aenne Plaumann (Goodbye Lenin!), a La Strada poster, design by Manfred Döring and Janina Jaensch were orchestrated by "card players", gender roles in the Fifties, and what's in a title.
Marlene Wondrak (Friederike Becht) with Johann Radmann (Alexander Fehling)
Ricciarelli in his debut feature captures a mood of cold-sweat exhilarated revitalisation,...
Giulio Ricciarelli's Oscar shortlisted Best Foreign Language Film candidate, Labyrinth Of Lies, stars Alexander Fehling of Quentin Tarantino's Inglourious Basterds fame, with Johannes Krisch (Frauke Finsterwalder's Finsterworld and Götz Spielmann's Revanche), André Szymanski, Hansi Jochmann, Friederike Becht (Margarethe von Trotta's Hannah Arendt), Johann von Bülow and Mathis Reinhardt, and is dedicated to the late great stage actor, Gert Voss.
"Heimatfilm", Marc Rothemund's Sophie Scholl: The Final Days on the White Rose shot by Martin Langer, Vico Torriani, Caterina Valente and how the costume design of Aenne Plaumann (Goodbye Lenin!), a La Strada poster, design by Manfred Döring and Janina Jaensch were orchestrated by "card players", gender roles in the Fifties, and what's in a title.
Marlene Wondrak (Friederike Becht) with Johann Radmann (Alexander Fehling)
Ricciarelli in his debut feature captures a mood of cold-sweat exhilarated revitalisation,...
- 1/3/2016
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Find out what made our top 10 films of 2015 - and which films racked up the most mentions from Team Screen.Scroll down for Screen’s overall top 10
Screen’s esteemed critics have had their turn. Now, Screen staff, contributors and correspondents reveal their favourite films of 2015.
Matt Mueller (Editor)
Force Majeure (dir. Ruben Ostlund)Mad Max: Fury Road (dir. George Miller)The Look Of Silence (dir. Joshua Oppenheimer)The Revenant (dir. Alejandro Gonzalez Inarritu)Ex Machina (dir. Alex Garland)Amy (dir. Asif Kapadia)Sunset Song (dir. Terence Davies)Tangerine (dir. Sean Baker)The Martian (dir. Ridley Scott)Anomalisa (dirs. Duke Johnson, Charlie Kaufman)Michael Rosser (Managing editor)
Son Of Saul (dir. Laszlo Nemes)Star Wars: The Force Awakens (dir. Jj Abrams)Ex Machina (dir. Alex Garland)Room (dir. Lenny Abrahamson)The Martian (dir. Ridley Scott)Inside Out (dirs. Pete Docter, Ronnie Del Carmen)Amy (dir. Asif Kapadia)45 Years (dir. Andrew Haigh)Slow West (dir. John Maclean)[link=tt...
Screen’s esteemed critics have had their turn. Now, Screen staff, contributors and correspondents reveal their favourite films of 2015.
Matt Mueller (Editor)
Force Majeure (dir. Ruben Ostlund)Mad Max: Fury Road (dir. George Miller)The Look Of Silence (dir. Joshua Oppenheimer)The Revenant (dir. Alejandro Gonzalez Inarritu)Ex Machina (dir. Alex Garland)Amy (dir. Asif Kapadia)Sunset Song (dir. Terence Davies)Tangerine (dir. Sean Baker)The Martian (dir. Ridley Scott)Anomalisa (dirs. Duke Johnson, Charlie Kaufman)Michael Rosser (Managing editor)
Son Of Saul (dir. Laszlo Nemes)Star Wars: The Force Awakens (dir. Jj Abrams)Ex Machina (dir. Alex Garland)Room (dir. Lenny Abrahamson)The Martian (dir. Ridley Scott)Inside Out (dirs. Pete Docter, Ronnie Del Carmen)Amy (dir. Asif Kapadia)45 Years (dir. Andrew Haigh)Slow West (dir. John Maclean)[link=tt...
- 12/23/2015
- ScreenDaily
The entire Academy Awards endeavour seems to expand every year, as more and more often, shortlists are announced during the behind-the-scenes nominations process, ahead of the final nominations announcement. While that tends to make the awards season feel even longer, it does much to raise the profile of films that might otherwise be little noticed by general audiences – including those submitted to the Academy for consideration as Best Foreign Film.
The Academy accepts one submission from each country, and the deadline for those submissions was October 1st this year. The selection process then has two phases. In the first phase, the Foreign Language Film Award Committee screens each submission, and selects six for shortlisting, with an additional three selected by the Foreign Language Film Award Executive Committee. This set of nine films is then announced as the shortlist, and this is the announcement we have seen today.
The shortlisted films...
The Academy accepts one submission from each country, and the deadline for those submissions was October 1st this year. The selection process then has two phases. In the first phase, the Foreign Language Film Award Committee screens each submission, and selects six for shortlisting, with an additional three selected by the Foreign Language Film Award Executive Committee. This set of nine films is then announced as the shortlist, and this is the announcement we have seen today.
The shortlisted films...
- 12/22/2015
- by Sarah Myles
- We Got This Covered
Often including the best films across the entire ceremony, The Academy announced their Oscar shortlist for the Best Foreign Language Film category today. Pared down from 81 selected films, we now have nine features, which will eventually be cut down to five nominations, followed by the winner on Oscar night.
The shortlist includes personal favorites such as Son of Saul, Mustang, Theeb, A War, and The Brand New Testament. Disappointingly left off the list is Hou Hsiao-hsien‘s The Assassin, Roy Andersson’s A Pigeon Sat on a Branch Reflecting on Existence, Miguel Gomes‘ Arabian Nights – Volume 2, The Desolate One, and Pablo Larraín‘s The Club, but what’s left is certainly a fine batch of films. Check it out below.
Belgium, The Brand New Testament, Jaco Van Dormael
Colombia, Embrace of the Serpent, Ciro Guerra
Denmark, A War, Tobias Lindholm
Finland, The Fencer, Klaus Härö
France, Mustang, Deniz Gamze Ergüven
Germany,...
The shortlist includes personal favorites such as Son of Saul, Mustang, Theeb, A War, and The Brand New Testament. Disappointingly left off the list is Hou Hsiao-hsien‘s The Assassin, Roy Andersson’s A Pigeon Sat on a Branch Reflecting on Existence, Miguel Gomes‘ Arabian Nights – Volume 2, The Desolate One, and Pablo Larraín‘s The Club, but what’s left is certainly a fine batch of films. Check it out below.
Belgium, The Brand New Testament, Jaco Van Dormael
Colombia, Embrace of the Serpent, Ciro Guerra
Denmark, A War, Tobias Lindholm
Finland, The Fencer, Klaus Härö
France, Mustang, Deniz Gamze Ergüven
Germany,...
- 12/18/2015
- by Jordan Raup
- The Film Stage
Labyrinth of Lies director Giulio Ricciarelli Photo: Anne-Katrin Titze
The shortlist for this year's Best Foreign Language Film Oscar was revealed today.
From Belgium, The Brand New Testament directed by Jaco Van Dormael; Colombia, Embrace Of The Serpent, Ciro Guerra, director; Denmark, A War, Tobias Lindholm, director; Finland, The Fencer, Klaus Härö, director; France, Mustang, Deniz Gamze Ergüven, director; Germany, Labyrinth Of Lies, Giulio Ricciarelli, director; Hungary, Son Of Saul, László Nemes, director; Ireland, Viva, Paddy Breathnach, director; Jordan, Theeb, Naji Abu Nowar, director.
80 foreign language features were submitted to the Academy for consideration. The five films to receive nominations will be announced on January 14, 2016, along with all the other Oscar nominations.
The Oscars will be handed out on February 28....
The shortlist for this year's Best Foreign Language Film Oscar was revealed today.
From Belgium, The Brand New Testament directed by Jaco Van Dormael; Colombia, Embrace Of The Serpent, Ciro Guerra, director; Denmark, A War, Tobias Lindholm, director; Finland, The Fencer, Klaus Härö, director; France, Mustang, Deniz Gamze Ergüven, director; Germany, Labyrinth Of Lies, Giulio Ricciarelli, director; Hungary, Son Of Saul, László Nemes, director; Ireland, Viva, Paddy Breathnach, director; Jordan, Theeb, Naji Abu Nowar, director.
80 foreign language features were submitted to the Academy for consideration. The five films to receive nominations will be announced on January 14, 2016, along with all the other Oscar nominations.
The Oscars will be handed out on February 28....
- 12/18/2015
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Congratulations to the nine films that proceed to the final stage towards an Oscar nomination. Six of these nine films were the top vote-winners from Academy's foreign film committee in Los Angeles (who screened these 80 films) after which the executive committee added three titles to the list (though which titles are which are never revealed to the public). A final committee will now screen these nine films and determine the five nominees to be announced on January 14th. It's an elaborate process that we love to follow each year. Catch up on all our coverage and see the charts!
The Finalists
Links go to past articles on the films if we've written any
Viva has been keeping a low profile but those who've seen it have raved.
Belgium (7 nominations) The Brand New Testament, Jaco Van Dormael Colombia (never nominated) Embrace of the Serpent, Ciro Guerra (opens 2/17) Denmark (13 noms | 3 wins) A War,...
The Finalists
Links go to past articles on the films if we've written any
Viva has been keeping a low profile but those who've seen it have raved.
Belgium (7 nominations) The Brand New Testament, Jaco Van Dormael Colombia (never nominated) Embrace of the Serpent, Ciro Guerra (opens 2/17) Denmark (13 noms | 3 wins) A War,...
- 12/18/2015
- by NATHANIEL R
- FilmExperience
The Academy unveiled on Thursday evening the nine films that advance in the foreign-language Oscar contest.
Hungary’s Son Of Saul, regarded as the frontrunner, made the cut while Colombia’s Embrace Of The Serpent is the only Latin American flag-bearer in the absence of Brazil’s The Second Mother, Chile’s The Club and Argentina’s El Clan.
There was also a no-show for Asian titles, which will raise eyebrows after Taiwan’s The Assassin drew wide acclaim.
The films in alphabetical order by country are:
Belgium, The Brand New Testament, Jaco Van Dormael, director;
Colombia, Embrace Of The Serpent, Ciro Guerra, director;
Denmark, A War, Tobias Lindholm, director;
Finland, The Fencer, Klaus Härö, director;
France, Mustang, Deniz Gamze Ergüven, director
Germany, Labyrinth Of Lies, Giulio Ricciarelli, director;
Hungary, Son Of Saul (pictured), László Nemes, director;
Ireland, Viva, Paddy Breathnach, director; and
Jordan, Theeb, Naji Abu Nowar, director.
The Phase I committee comprising several hundred Los Angeles-based...
Hungary’s Son Of Saul, regarded as the frontrunner, made the cut while Colombia’s Embrace Of The Serpent is the only Latin American flag-bearer in the absence of Brazil’s The Second Mother, Chile’s The Club and Argentina’s El Clan.
There was also a no-show for Asian titles, which will raise eyebrows after Taiwan’s The Assassin drew wide acclaim.
The films in alphabetical order by country are:
Belgium, The Brand New Testament, Jaco Van Dormael, director;
Colombia, Embrace Of The Serpent, Ciro Guerra, director;
Denmark, A War, Tobias Lindholm, director;
Finland, The Fencer, Klaus Härö, director;
France, Mustang, Deniz Gamze Ergüven, director
Germany, Labyrinth Of Lies, Giulio Ricciarelli, director;
Hungary, Son Of Saul (pictured), László Nemes, director;
Ireland, Viva, Paddy Breathnach, director; and
Jordan, Theeb, Naji Abu Nowar, director.
The Phase I committee comprising several hundred Los Angeles-based...
- 12/18/2015
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Out of 80 accepted Oscar submissions (one, from Afghanistan, was disqualified for containing what was considered more English-language dialogue that is permitted to be eligible in the category), nine features have been shortlisted to advance to the next round of voting in which 30 Academy members, chosen at random from multiple branches of the organization, will watch the films over a a period of three days to select the finalists.
The five nominees will be announced on January 14, 2016 alongside all other categories.
As expected Hungary's "Son of Saul" and France's Turkish-language "Mustang" made the cut following their Golden Globe nominations in the same category. Two other Golden Globe nominees, "The Fencer" and "The Brand New Testament," also made the cut.
The films, listed in alphabetical order by country, are:
Belgium, "The Brand New Testament," Jaco Van Dormael, director;
Colombia, "Embrace of the Serpent," Ciro Guerra, director;
Denmark, "A War," Tobias Lindholm, director;
Finland, "The Fencer," Klaus Härö, director;
France, "Mustang," Deniz Gamze Ergüven, director;
Germany, "Labyrinth of Lies," Giulio Ricciarelli, director;
Hungary, "Son of Saul," László Nemes, director;
Ireland, "Viva," Paddy Breathnach, director;
Jordan, "Theeb," Naji Abu Nowar, director.
The five nominees will be announced on January 14, 2016 alongside all other categories.
As expected Hungary's "Son of Saul" and France's Turkish-language "Mustang" made the cut following their Golden Globe nominations in the same category. Two other Golden Globe nominees, "The Fencer" and "The Brand New Testament," also made the cut.
The films, listed in alphabetical order by country, are:
Belgium, "The Brand New Testament," Jaco Van Dormael, director;
Colombia, "Embrace of the Serpent," Ciro Guerra, director;
Denmark, "A War," Tobias Lindholm, director;
Finland, "The Fencer," Klaus Härö, director;
France, "Mustang," Deniz Gamze Ergüven, director;
Germany, "Labyrinth of Lies," Giulio Ricciarelli, director;
Hungary, "Son of Saul," László Nemes, director;
Ireland, "Viva," Paddy Breathnach, director;
Jordan, "Theeb," Naji Abu Nowar, director.
- 12/18/2015
- by Carlos Aguilar
- Sydney's Buzz
Fascinating is the best way to describe the process by which the final five nominated for the Academy Award in the Best Foreign Language Film are selected. Each year dozens of countries send their Oscar hopeful to Hollywood for AMPAS to consider. This work should, at least in theory, be the best representation of the national cinematic achievements of that year. This usually makes for a crowded field of storytelling marvels.
Since each country, via its national film academy or a special cultural committee, can only submit one candidate, there are always “snubs” even at the selections stage. These often happens because a film doesn’t meet the requirements or simply because the selecting body didn’t regard them as highly. While there are numerous detractors regarding AMPAS rule of only one entry per country, in a sense this helps level the playfield given that smaller territories might have very choices in comparison to European powerhouses. The other perspective argues that because of this process sometimes the real standouts don’t get a chance to compete.
Once a film becomes the official entry the next, and most arduous step, is to get into the 9-film shortlist. Six of them are chosen by popular within the AMPAS’ Foreign Language Film committee and the other three by an executed committee. These nine finalists are then watched by 30 randomly selected members from different Academy branches over one weekend. This is where the five nominees are chosen. This year 80 accepted submissions (noting that Afghanistan’s entry was disqualified) are vying for the trophy, and that means that 75 of the world’s best films will have to cherish the exposure given by process.
Nevertheless, making the shortlist is more than a commendable feat itself. This list will be revealed next week, and though there are always unexpected surprises, there are of course a few favorites and films that have garnered lots of positive attention throughout the season. After watching over three quarters out of the colossal list of entries in contention I’d like to share my observations on the 25 films that seem like the strongest bets to make the coveted shortlist and eventually become Academy Award nominees. Granted, other films could easily sneak in if they manage to impress the right people, but I feel confident that most of those that will advance will come from the least below.
Argentina
"The Clan" (El Clan)
Dir. Pablo Trapero
Isa: Film Factory Entertainment
U.S. Distribution: Fox International
Trapero’s sordid crime drama based on the real life story of the Puccio family, which became national news when authorities discovered they were behind a series of kidnapping and murders, is a compelling work that uses Argentina’s historical context as backdrop. . Almodovar’s El Deseo, the company behind the Oscar-nominated “Wild Tales”, produced the film.
Read More: 'The Clan Wins' Audience Award At Miami Dade College’s Miami International Film Festival’s Gems
Austria
"Goodnight Mommy" (Ich seh, ich seh)
Dirs. Severin Fiala & Veronika Franz
Isa: Films Distribution
U.S. Distribution: Radius-twc
One of the most daring selections is also one the most acclaimed horror films of the year. This art house chiller confronts a pair of mischievous twin boys with their convalescent mother who recently underwent a facial surgery. The thematic and aesthetic elegance that co-directors Severin Fiala and Veronika Franz employed elevates “Goodnight Mommy” beyond the usual gruesome fare.
Belgium
"The Brand New Testament" (Le tout nouveau testament)
Dir. Jaco Van Dormael
Isa: Le Pacte
U.S. Distribution: None Yet
This fantastical take on religion is yet another unique vision from director Jaco Van Dormael, the filmmaker behind such films as “Mr. Nobody.” With a humorous tone, “The Brand New Testament” explores what would happen if God himself lived in a regular apartment in Brussels pretending to be a mortal and finding pleasure in the little things that annoy human life - all of which are orchestrated by him.
Brazil
"The Second Mother" (Que Horas Ela Volta?)
Dir. Anna Muylaert
Isa: The Match Factory
U.S. Distribution: Oscilloscope Pictures
Anna Muylaert’s crowd-pleasing, yet thematically complex gem delves into the intricacies of class in Brazilian society through the eyes of an endearing live-in maid. Regina Casé, in an Oscar-worthy performance, becomes Val, a diligent and humble housekeeper that has worked with the same wealthy family in Sao Paulo for many years and who only questions her role within this environment when her strange daughter comes to visit.
Read More: Anna Muylaert on Why the Protagonist of 'The Second Mother' is a Super Hero
Canada
"Felix & Meira"
Dir. Maxime Giroux
Isa: Urban Distribution International
U.S. Distribution: Oscilloscope Laboratories
A clandestine romance and the yoke of religion are at the center of Maxime Giroux’s delicate debut feature. Meira (Hadas Yaron is a Hasidic woman who feels trapped by the expectations and limitations imposed her, but when she meets Felix (Martin Dubreuil), a secular man who is equally lost, her vision of the world widens.
Rea More: 'Felix and Meira' Director Maxime Giroux on Understanding Hasidim and Quebecois Isolation
Chile
"The Club" (El Club)
Dir. Pablo Larraín
Isa: Funny Balloons
U.S. Distribution: Music Box Films
Larrain's latest work follows a group of priests and nuns who live in an isolated beachside town after committing a score of heinous crimes. Though they have the church's protection, there are people out there who are not willing to let impunity prevail. Magnificently written and acted, this dark and piercing drama ranks up there with the director’s best work
Colombia
"Embrace of the Serpent" (El Abrazo de la Serpiente)
Dir. Ciro Guerra
Isa: Films Boutique
U.S. Distribution: Oscilloscope Laboratories
Strikingly beautiful and laced with poetic mysticism, Ciro Guerra’s most accomplished work to date follows the journey of two European explores at particular times in history as they are guided through the Amazon by Karamakate, an imposing local shaman man who is wary of their intentions.
Czech Republic
"Home Care" (Domácí péce)
Dir. Slávek Horák
Isa: M-Appeal
U.S. Distribution: None Yet
This very low-key dramedy from first-time director Slávek Horák about a a middle-aged home care nurse, who not only has to look after her patients but also her own family, hasn’t had as much exposure as other films on this list; however, the quality of the performances and the nuanced screenplay have resonated with those who have seen it.
Denmark
"A War" (Krigen)
Dir. Tobias Lindholm
Isa: Studiocanal
U.S. Distribution: Magnolia Pictures
Director Tobias Lindholm follow up to “A Hijacking,” blends gritty action with a courtroom drama in a searing study on guilt and the collateral damage of armed conflicts from the point of view of conflicted family man and company commander Claus M. Pedersen (Pilou Asbæk). Subtle observations and intricate moral complexity are once again Lindholm's greatest strengths.
Estonia
"1944"
Dir. Elmo Nüganen
Isa: Eyewell Ab
U.S. Distribution: None Yet
After earning its first-ever Academy Award nomination earlier this year, the Eastern European country returns to the race with an impressive historical epic about Estonian soldiers fighting on different sides against their own. The film was directed, who starred in the Oscar-nominated “Tangerines.”
Finland
"The Fencer" (Miekkailija)
Dir. Klaus Härö
Isa: The Little Film Company
U.S. Distribution: None Yet
Finnish filmmaker Klaus Härö takes on an Estonian story about a professional fencer who becomes a physical education teacher in his homeland after leaving Russia to escape the Kgb. This classically executed and elegant period drama offers uplifting moments, romance, and exquisite cinematography.
France
"Mustang"
Dir. Deniz Gamze Ergüven
Isa: Kinology
U.S. Distribution: Cohen Media Group
Through traditional gender roles and expectations in Turkish society, adults attempt to tame the blossoming womanhood in Deniz Gamze Ergüven's five teenage protagonists. Delicately shot and cast to perfection, this peculiar coming-of-ager is an empowering breath of fresh air that honors freedom and femininity in equal measures.
Read More: 'Mustang' Director Deniz Gamze Ergüven on Femininity in Cinema and French Multiculturalism
Germany
"Labyrinth of Lies" (Im Labyrinth des Schweigens)
Dir. Giulio Ricciarelli
Isa: Beta Cinema
U.S. Distribution: Sony Pictures Classics
In the aftermath of WWII German authorities and the majority of the population refused to acknowledge the magnitude of their involvement in the Holocaust until a driven young prosecutor begins uncovering the truth. Ricciarelli film is a compelling historical drama with a fantastic lead performance by Alexander Fehling at its core.
Read More: Dir. Giulio Ricciarelli and Star Alexander Fehling on the Historical Relevance of 'Labyrinth of Lies' and Germany's Open Wound
Guatemala
"Ixcanul"
Dir. Jayro Bustamante
Isa: Film Factory Entertainment
U.S. Distribution: Kino Lorber
Bustamante’s Silver Bear-winning ethereal masterpiece in indigenous language is an intimate look at the lives of the country’s Mayan population. Told through the eyes of a teenage girl destined to an arranged marriage, this marvelously photographed film speaks of tradition, modernity, mysticism, male chauvinism, and cultural isolation.
Read More: 'Ixcanul' Director Jayro Bustamante on the Strength of Mayan Women and Guatemala's Indigenous Majority
Hungary
"Son of Saul" (Saul fia)
Dir. László Nemes
Isa: Films Distribution
U.S. Distribution: Sony Pictures Classics
By far the most incredible debut of the year and one of the best films about the Holocaust ever made, this year’s Grand Prix winner takes the viewer inside the Nazi killing machine from the perspective of the Sonderkommando, a group of Jewish men chosen to carry out all horrific manual labor within the gas chambers. Immersive and devastating, Nemes' stunner is a powerful cinematic statement.
Iceland
"Rams" (Hrútar)
Dir. Grímur Hákonarson
Isa: New Europe Film Sales
U.S. Distribution: Cohen Media Group
A humorous look at brotherhood and pastoral life, this Un Certain Regard-winning dark comedy pays homage to the importance of sheep in the Icelandic cultural identity. When a disease wipes out the entire town’s flock, two estrange siblings, who haven’t spoken to each other in decades, are forced to collaborate in order to save their livelihood.
Ireland
"Viva"
Dir. Paddy Breathnach
Isa: Mongrel International
U.S. Distribution: Magnolia Pictures
Jesus, a young gay man in Havana, only finds relief from his daily struggles when he transforms into a drag performer in front of an eager audience, but when his macho father returns after decades away his dreams are jeopardized. This Irish production set in Cuba is a delightful work that thrives on authenticity and emotionally layered performances.
Read More:'Viva' Director Paddy Breathnach on Making an Irish Film in Cuba and Visceral Transformation
Jordan
"Theeb" (ذيب)
Dir. Naji Abu Nowar
Isa: Fortissimo Films
U.S. Distribution: Film Movement
Adapting the sensibilities of classic Westerns into a uniquely Middle Eastern setting, this period piece touches on the complicated relationship between the region and the colonial powers via the experiences of a young Bedouin boy who embarks on a mission across the desert. Top-notch filmmaking that twists conventions to depict a singular worldview.
Mexico
"600 Miles" (600 Millas)
Dir. Gabriel Ripstein
Isa: Ndm
U.S. Distribution: Pantelion Films
By focusing on two characters from opposite sides of the border, Gabriel Ripstein’s debut Starring Tim Roth delves into the U.S/Mexico conflictive, yet unavoidable codependency and share responsibility in the fight against organized crime. Guns are at the center of this realist tale in which everyone’s morality is tinged with shades of grey.
The Netherlands
"The Paradise Suite"
Dir. Joost van Ginkel
Isa: Media Luna New Films
U.S. Distribution: None Yet
In this profound multi-narrative film the tumultuous stories of characters from diverse latitudes collide in Amsterdam in unexpected and heartbreaking ways. An Eastern European girl dragged into prostitution, an African man desperate to stay afloat, a war criminal in disguise, a woman seeking revenge, and famous musician and his son struggling to connect, all, in their own way, looking fro redemption.
Norway
"The Wave" (Bølgen)
Dir. Roar Uthaug
Isa: TrustNordisk
U.S. Distribution: Magnolia Pictures
Besides its spectacular, Hollywood-worthy visual effects, what sets this Scandinavian disaster movie apart from less sophisticated American efforts is its interesting character development. While the chaos and destruction on screen is an exhilarating feast, the human aspect is never forgotten and it’s crucial to the Norwegian specificity of the plot.
Romania
"Aferim!"
Dir. Radu Jude
Isa: Beta Cinema
U.S. Distribution: Big World Pictures
Thematically fascinating and visually impeccable, this black-and-white historical adventure set in the early 19th century solidifies Romanian cinema as one of the most exciting and innovative currents in Europe. Radu Jude’s film centers on the mostly unknown history of Gypsy slavery and how this shaped Romanian society by using a tragicomic tone and timeless aesthetics.
Spain
"Flowers" (Loreak)
Dirs. Jon Garaño & Jose Mari Goenaga
Isa: Film Factory Entertainment
U.S. Distribution: Music Box Films
The country’s firs Basque-language entry is a soft-spoken drama that juxtaposes the grieving processes of three women after the tragic death of man that touched their lives directly and indirectly. Unpretentious in its concept, yet unexpectedly philosophical, the power of the narrative lies on the actresses that flourish and decay in varying degrees throughout the film.
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
As brilliant as anything Andersson has ever created, the final chapter in his trilogy about the absurdity of what it means to be human is one of the most unconventional cinematic experiences in recent memory. Without the constraints of la traditional plot, this nonlinear treasure uses clever vignettes to talk about death, humor, and the mundane things that define our existence.
Read More: 7 Reasons Why Roy Andersson's Latest Film is a Must-See Philosophical Wonder
Taiwan
"The Assassin" (聶隱娘)
Dir. Hsiao-hsien Hou
Isa: Wild Bunch
U.S. Distribution: Well Go USA Entertainment
Armed with breathtaking cinematography, lavish costumes and production design, and an ancient legend about betrayal and retribution, master Hsiao-hsien Hou obliterates our expectations and delivers a one-of-a-kind martial arts epic that’s more concerned with sensory transcendence than narrative clarity, but is no less of an enthralling experience because of it.
Since each country, via its national film academy or a special cultural committee, can only submit one candidate, there are always “snubs” even at the selections stage. These often happens because a film doesn’t meet the requirements or simply because the selecting body didn’t regard them as highly. While there are numerous detractors regarding AMPAS rule of only one entry per country, in a sense this helps level the playfield given that smaller territories might have very choices in comparison to European powerhouses. The other perspective argues that because of this process sometimes the real standouts don’t get a chance to compete.
Once a film becomes the official entry the next, and most arduous step, is to get into the 9-film shortlist. Six of them are chosen by popular within the AMPAS’ Foreign Language Film committee and the other three by an executed committee. These nine finalists are then watched by 30 randomly selected members from different Academy branches over one weekend. This is where the five nominees are chosen. This year 80 accepted submissions (noting that Afghanistan’s entry was disqualified) are vying for the trophy, and that means that 75 of the world’s best films will have to cherish the exposure given by process.
Nevertheless, making the shortlist is more than a commendable feat itself. This list will be revealed next week, and though there are always unexpected surprises, there are of course a few favorites and films that have garnered lots of positive attention throughout the season. After watching over three quarters out of the colossal list of entries in contention I’d like to share my observations on the 25 films that seem like the strongest bets to make the coveted shortlist and eventually become Academy Award nominees. Granted, other films could easily sneak in if they manage to impress the right people, but I feel confident that most of those that will advance will come from the least below.
Argentina
"The Clan" (El Clan)
Dir. Pablo Trapero
Isa: Film Factory Entertainment
U.S. Distribution: Fox International
Trapero’s sordid crime drama based on the real life story of the Puccio family, which became national news when authorities discovered they were behind a series of kidnapping and murders, is a compelling work that uses Argentina’s historical context as backdrop. . Almodovar’s El Deseo, the company behind the Oscar-nominated “Wild Tales”, produced the film.
Read More: 'The Clan Wins' Audience Award At Miami Dade College’s Miami International Film Festival’s Gems
Austria
"Goodnight Mommy" (Ich seh, ich seh)
Dirs. Severin Fiala & Veronika Franz
Isa: Films Distribution
U.S. Distribution: Radius-twc
One of the most daring selections is also one the most acclaimed horror films of the year. This art house chiller confronts a pair of mischievous twin boys with their convalescent mother who recently underwent a facial surgery. The thematic and aesthetic elegance that co-directors Severin Fiala and Veronika Franz employed elevates “Goodnight Mommy” beyond the usual gruesome fare.
Belgium
"The Brand New Testament" (Le tout nouveau testament)
Dir. Jaco Van Dormael
Isa: Le Pacte
U.S. Distribution: None Yet
This fantastical take on religion is yet another unique vision from director Jaco Van Dormael, the filmmaker behind such films as “Mr. Nobody.” With a humorous tone, “The Brand New Testament” explores what would happen if God himself lived in a regular apartment in Brussels pretending to be a mortal and finding pleasure in the little things that annoy human life - all of which are orchestrated by him.
Brazil
"The Second Mother" (Que Horas Ela Volta?)
Dir. Anna Muylaert
Isa: The Match Factory
U.S. Distribution: Oscilloscope Pictures
Anna Muylaert’s crowd-pleasing, yet thematically complex gem delves into the intricacies of class in Brazilian society through the eyes of an endearing live-in maid. Regina Casé, in an Oscar-worthy performance, becomes Val, a diligent and humble housekeeper that has worked with the same wealthy family in Sao Paulo for many years and who only questions her role within this environment when her strange daughter comes to visit.
Read More: Anna Muylaert on Why the Protagonist of 'The Second Mother' is a Super Hero
Canada
"Felix & Meira"
Dir. Maxime Giroux
Isa: Urban Distribution International
U.S. Distribution: Oscilloscope Laboratories
A clandestine romance and the yoke of religion are at the center of Maxime Giroux’s delicate debut feature. Meira (Hadas Yaron is a Hasidic woman who feels trapped by the expectations and limitations imposed her, but when she meets Felix (Martin Dubreuil), a secular man who is equally lost, her vision of the world widens.
Rea More: 'Felix and Meira' Director Maxime Giroux on Understanding Hasidim and Quebecois Isolation
Chile
"The Club" (El Club)
Dir. Pablo Larraín
Isa: Funny Balloons
U.S. Distribution: Music Box Films
Larrain's latest work follows a group of priests and nuns who live in an isolated beachside town after committing a score of heinous crimes. Though they have the church's protection, there are people out there who are not willing to let impunity prevail. Magnificently written and acted, this dark and piercing drama ranks up there with the director’s best work
Colombia
"Embrace of the Serpent" (El Abrazo de la Serpiente)
Dir. Ciro Guerra
Isa: Films Boutique
U.S. Distribution: Oscilloscope Laboratories
Strikingly beautiful and laced with poetic mysticism, Ciro Guerra’s most accomplished work to date follows the journey of two European explores at particular times in history as they are guided through the Amazon by Karamakate, an imposing local shaman man who is wary of their intentions.
Czech Republic
"Home Care" (Domácí péce)
Dir. Slávek Horák
Isa: M-Appeal
U.S. Distribution: None Yet
This very low-key dramedy from first-time director Slávek Horák about a a middle-aged home care nurse, who not only has to look after her patients but also her own family, hasn’t had as much exposure as other films on this list; however, the quality of the performances and the nuanced screenplay have resonated with those who have seen it.
Denmark
"A War" (Krigen)
Dir. Tobias Lindholm
Isa: Studiocanal
U.S. Distribution: Magnolia Pictures
Director Tobias Lindholm follow up to “A Hijacking,” blends gritty action with a courtroom drama in a searing study on guilt and the collateral damage of armed conflicts from the point of view of conflicted family man and company commander Claus M. Pedersen (Pilou Asbæk). Subtle observations and intricate moral complexity are once again Lindholm's greatest strengths.
Estonia
"1944"
Dir. Elmo Nüganen
Isa: Eyewell Ab
U.S. Distribution: None Yet
After earning its first-ever Academy Award nomination earlier this year, the Eastern European country returns to the race with an impressive historical epic about Estonian soldiers fighting on different sides against their own. The film was directed, who starred in the Oscar-nominated “Tangerines.”
Finland
"The Fencer" (Miekkailija)
Dir. Klaus Härö
Isa: The Little Film Company
U.S. Distribution: None Yet
Finnish filmmaker Klaus Härö takes on an Estonian story about a professional fencer who becomes a physical education teacher in his homeland after leaving Russia to escape the Kgb. This classically executed and elegant period drama offers uplifting moments, romance, and exquisite cinematography.
France
"Mustang"
Dir. Deniz Gamze Ergüven
Isa: Kinology
U.S. Distribution: Cohen Media Group
Through traditional gender roles and expectations in Turkish society, adults attempt to tame the blossoming womanhood in Deniz Gamze Ergüven's five teenage protagonists. Delicately shot and cast to perfection, this peculiar coming-of-ager is an empowering breath of fresh air that honors freedom and femininity in equal measures.
Read More: 'Mustang' Director Deniz Gamze Ergüven on Femininity in Cinema and French Multiculturalism
Germany
"Labyrinth of Lies" (Im Labyrinth des Schweigens)
Dir. Giulio Ricciarelli
Isa: Beta Cinema
U.S. Distribution: Sony Pictures Classics
In the aftermath of WWII German authorities and the majority of the population refused to acknowledge the magnitude of their involvement in the Holocaust until a driven young prosecutor begins uncovering the truth. Ricciarelli film is a compelling historical drama with a fantastic lead performance by Alexander Fehling at its core.
Read More: Dir. Giulio Ricciarelli and Star Alexander Fehling on the Historical Relevance of 'Labyrinth of Lies' and Germany's Open Wound
Guatemala
"Ixcanul"
Dir. Jayro Bustamante
Isa: Film Factory Entertainment
U.S. Distribution: Kino Lorber
Bustamante’s Silver Bear-winning ethereal masterpiece in indigenous language is an intimate look at the lives of the country’s Mayan population. Told through the eyes of a teenage girl destined to an arranged marriage, this marvelously photographed film speaks of tradition, modernity, mysticism, male chauvinism, and cultural isolation.
Read More: 'Ixcanul' Director Jayro Bustamante on the Strength of Mayan Women and Guatemala's Indigenous Majority
Hungary
"Son of Saul" (Saul fia)
Dir. László Nemes
Isa: Films Distribution
U.S. Distribution: Sony Pictures Classics
By far the most incredible debut of the year and one of the best films about the Holocaust ever made, this year’s Grand Prix winner takes the viewer inside the Nazi killing machine from the perspective of the Sonderkommando, a group of Jewish men chosen to carry out all horrific manual labor within the gas chambers. Immersive and devastating, Nemes' stunner is a powerful cinematic statement.
Iceland
"Rams" (Hrútar)
Dir. Grímur Hákonarson
Isa: New Europe Film Sales
U.S. Distribution: Cohen Media Group
A humorous look at brotherhood and pastoral life, this Un Certain Regard-winning dark comedy pays homage to the importance of sheep in the Icelandic cultural identity. When a disease wipes out the entire town’s flock, two estrange siblings, who haven’t spoken to each other in decades, are forced to collaborate in order to save their livelihood.
Ireland
"Viva"
Dir. Paddy Breathnach
Isa: Mongrel International
U.S. Distribution: Magnolia Pictures
Jesus, a young gay man in Havana, only finds relief from his daily struggles when he transforms into a drag performer in front of an eager audience, but when his macho father returns after decades away his dreams are jeopardized. This Irish production set in Cuba is a delightful work that thrives on authenticity and emotionally layered performances.
Read More:'Viva' Director Paddy Breathnach on Making an Irish Film in Cuba and Visceral Transformation
Jordan
"Theeb" (ذيب)
Dir. Naji Abu Nowar
Isa: Fortissimo Films
U.S. Distribution: Film Movement
Adapting the sensibilities of classic Westerns into a uniquely Middle Eastern setting, this period piece touches on the complicated relationship between the region and the colonial powers via the experiences of a young Bedouin boy who embarks on a mission across the desert. Top-notch filmmaking that twists conventions to depict a singular worldview.
Mexico
"600 Miles" (600 Millas)
Dir. Gabriel Ripstein
Isa: Ndm
U.S. Distribution: Pantelion Films
By focusing on two characters from opposite sides of the border, Gabriel Ripstein’s debut Starring Tim Roth delves into the U.S/Mexico conflictive, yet unavoidable codependency and share responsibility in the fight against organized crime. Guns are at the center of this realist tale in which everyone’s morality is tinged with shades of grey.
The Netherlands
"The Paradise Suite"
Dir. Joost van Ginkel
Isa: Media Luna New Films
U.S. Distribution: None Yet
In this profound multi-narrative film the tumultuous stories of characters from diverse latitudes collide in Amsterdam in unexpected and heartbreaking ways. An Eastern European girl dragged into prostitution, an African man desperate to stay afloat, a war criminal in disguise, a woman seeking revenge, and famous musician and his son struggling to connect, all, in their own way, looking fro redemption.
Norway
"The Wave" (Bølgen)
Dir. Roar Uthaug
Isa: TrustNordisk
U.S. Distribution: Magnolia Pictures
Besides its spectacular, Hollywood-worthy visual effects, what sets this Scandinavian disaster movie apart from less sophisticated American efforts is its interesting character development. While the chaos and destruction on screen is an exhilarating feast, the human aspect is never forgotten and it’s crucial to the Norwegian specificity of the plot.
Romania
"Aferim!"
Dir. Radu Jude
Isa: Beta Cinema
U.S. Distribution: Big World Pictures
Thematically fascinating and visually impeccable, this black-and-white historical adventure set in the early 19th century solidifies Romanian cinema as one of the most exciting and innovative currents in Europe. Radu Jude’s film centers on the mostly unknown history of Gypsy slavery and how this shaped Romanian society by using a tragicomic tone and timeless aesthetics.
Spain
"Flowers" (Loreak)
Dirs. Jon Garaño & Jose Mari Goenaga
Isa: Film Factory Entertainment
U.S. Distribution: Music Box Films
The country’s firs Basque-language entry is a soft-spoken drama that juxtaposes the grieving processes of three women after the tragic death of man that touched their lives directly and indirectly. Unpretentious in its concept, yet unexpectedly philosophical, the power of the narrative lies on the actresses that flourish and decay in varying degrees throughout the film.
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
As brilliant as anything Andersson has ever created, the final chapter in his trilogy about the absurdity of what it means to be human is one of the most unconventional cinematic experiences in recent memory. Without the constraints of la traditional plot, this nonlinear treasure uses clever vignettes to talk about death, humor, and the mundane things that define our existence.
Read More: 7 Reasons Why Roy Andersson's Latest Film is a Must-See Philosophical Wonder
Taiwan
"The Assassin" (聶隱娘)
Dir. Hsiao-hsien Hou
Isa: Wild Bunch
U.S. Distribution: Well Go USA Entertainment
Armed with breathtaking cinematography, lavish costumes and production design, and an ancient legend about betrayal and retribution, master Hsiao-hsien Hou obliterates our expectations and delivers a one-of-a-kind martial arts epic that’s more concerned with sensory transcendence than narrative clarity, but is no less of an enthralling experience because of it.
- 12/14/2015
- by Carlos Aguilar
- Sydney's Buzz
Screenplays have been populated by characters trying to move forward and escape their ugly past since the creation of cinema (Mad Max may be the most recent example to come to mind, even Ant-Man). This week’s new release concerns a whole country rather than a person trying to come to grips with its history. Really not a distant past. That country is Germany, 1958. It’s just a couple of years prior to the event (the erection of the Berlin Wall) portrayed in the still-in-theatres Bridge Of Spies, which itself was set a few years before the spy caper box office dud The Man From Uncle. As you may assume from the year, this film concerns the events of the not-so-long-ago World War II. And while the man character aspires to bring buried atrocities to light, he’s up against many powerful forces trying to keep that history a secret from the masses.
- 10/23/2015
- by Jim Batts
- WeAreMovieGeeks.com
Three German productions have achieved great success following their debuts in U.S. cinemas in the past few weeks. This outburst of interested by both audiences the press points the quality of the stories and the craft showcased in current German cinema.
"Phoenix" by by Christian Petzold (Schramm Film Koerner & Weber) was instantly loved by the press and audience following its world premiere during the Toronto International Film Festival in 2014. The Vertigo drama with Nina Hoss and Ronald Zehrfeld in the leads has also been a remarkable success at the U.S. box office. To date, it has posted over $ 3.1 million box-office takings. Since being released by Sundance Selects on July 24, 2015, the number of prints has continuously increased and the film has now been shown in a total of 165 cinemas. The film has also had a good run in France, for example, where it was seen by over 170,000 moviegoers.
Read More: Christian Petzold's 'Phoenix' is a Deeply Moving Film About Survivors Rebuilding Their Lives
Germany's Oscar entry in the the Best Foreign Language Film category, "Labyrinth of Lies," (Claussen + Wöbke + Putz Filmproduktion, naked eye filmproduction) opened stateside on September 30 after becoming a big success in French cinemas with around 340,000 admissions. The film by Giulio Ricciarelli, which centers on the historical background of the Auschwitz trials, has now earned around $192,000 at the box office. It was initially launched by Sony Pictures Classics in three cinemas and is currently playing on 36 screens. Other cinemas will follow in the coming weeks. Take a look at our interview with director Giulio Ricciarelli, and the star of the film Alexander Fehling Here.
Read More: Dir. Giulio Ricciarelli and Star Alexander Fehling on the Historical Relevance of 'Labyrinth of Lies' and Germany's Open Wound
Lastly, "Victoria" (MonkeyBoy, deutschfilm, RadicalMedia) was released in the U.S. by Adopt Films on October 9. The one-shot thriller about a breathless night in Berlin had been one of the major festival buzz titles on its world premiere at the 2015 Berlinale and subsequently picked up five German Film Awards. The film also left a deep impression on critics and audiences at its North American premiere during the Toronto International Film Festival and ahead of its U.S. theatrical release."Victoria" was awarded the prize for the Best International Film at the San Diego Film Festival at the end of September. Schipper's film initially opened in three cinemas and expanded to 26 cinemas om 16 October; others will follow.
Read More: German Currents Festival of German Film in L.A.
"Phoenix" by by Christian Petzold (Schramm Film Koerner & Weber) was instantly loved by the press and audience following its world premiere during the Toronto International Film Festival in 2014. The Vertigo drama with Nina Hoss and Ronald Zehrfeld in the leads has also been a remarkable success at the U.S. box office. To date, it has posted over $ 3.1 million box-office takings. Since being released by Sundance Selects on July 24, 2015, the number of prints has continuously increased and the film has now been shown in a total of 165 cinemas. The film has also had a good run in France, for example, where it was seen by over 170,000 moviegoers.
Read More: Christian Petzold's 'Phoenix' is a Deeply Moving Film About Survivors Rebuilding Their Lives
Germany's Oscar entry in the the Best Foreign Language Film category, "Labyrinth of Lies," (Claussen + Wöbke + Putz Filmproduktion, naked eye filmproduction) opened stateside on September 30 after becoming a big success in French cinemas with around 340,000 admissions. The film by Giulio Ricciarelli, which centers on the historical background of the Auschwitz trials, has now earned around $192,000 at the box office. It was initially launched by Sony Pictures Classics in three cinemas and is currently playing on 36 screens. Other cinemas will follow in the coming weeks. Take a look at our interview with director Giulio Ricciarelli, and the star of the film Alexander Fehling Here.
Read More: Dir. Giulio Ricciarelli and Star Alexander Fehling on the Historical Relevance of 'Labyrinth of Lies' and Germany's Open Wound
Lastly, "Victoria" (MonkeyBoy, deutschfilm, RadicalMedia) was released in the U.S. by Adopt Films on October 9. The one-shot thriller about a breathless night in Berlin had been one of the major festival buzz titles on its world premiere at the 2015 Berlinale and subsequently picked up five German Film Awards. The film also left a deep impression on critics and audiences at its North American premiere during the Toronto International Film Festival and ahead of its U.S. theatrical release."Victoria" was awarded the prize for the Best International Film at the San Diego Film Festival at the end of September. Schipper's film initially opened in three cinemas and expanded to 26 cinemas om 16 October; others will follow.
Read More: German Currents Festival of German Film in L.A.
- 10/21/2015
- by Sydney Levine
- Sydney's Buzz
Films from 81 countries have been subitted for this year’s Best Foreign Language Film Oscar.
The Us Academy of Motion Picture Arts and Sciences has confirmed that 81 countries have submitted films for consideration for this year’s Academy Award for Best Foreign-Language Film.
Paraguay is the only first-time entrant.
The figure is down on last year, when a record 83 countries submitted features and the eventual winner was Polish feature Ida, directed by Pawel Pawlikowski.
Nine finalists will be shortlisted, which will be whittled down to five nominees that will be announced on Jan 14, 2016.
The 88th Academy Awards will take place at the Dolby Theatre in Hollywood on Feb 28, 2016, televised live in more than 225 countries and territories worldwide.
The 2015 submissions are:
Afghanistan Utopia, Hassan Nazer
Albania Bota, Iris Elezi, Thomas Logoreci
Algeria Twilight of Shadows, Mohamed Lakhdar Hamina
Argentina The Clan, Pablo Trapero
Australia Arrows of the Thunder, Dragon Greg Sneddon
Austria Goodnight Mommy, Veronika Franz, [link...
The Us Academy of Motion Picture Arts and Sciences has confirmed that 81 countries have submitted films for consideration for this year’s Academy Award for Best Foreign-Language Film.
Paraguay is the only first-time entrant.
The figure is down on last year, when a record 83 countries submitted features and the eventual winner was Polish feature Ida, directed by Pawel Pawlikowski.
Nine finalists will be shortlisted, which will be whittled down to five nominees that will be announced on Jan 14, 2016.
The 88th Academy Awards will take place at the Dolby Theatre in Hollywood on Feb 28, 2016, televised live in more than 225 countries and territories worldwide.
The 2015 submissions are:
Afghanistan Utopia, Hassan Nazer
Albania Bota, Iris Elezi, Thomas Logoreci
Algeria Twilight of Shadows, Mohamed Lakhdar Hamina
Argentina The Clan, Pablo Trapero
Australia Arrows of the Thunder, Dragon Greg Sneddon
Austria Goodnight Mommy, Veronika Franz, [link...
- 10/8/2015
- ScreenDaily
Films from 81 countries have been subitted for this year’s Foreign Language Film Oscar, among them Felix and Meira, Under Milk Wood, Labyrinth of Lies and Sunstroke (click through for full list).
The Us Academy of Motion Picture Arts and Sciences has confirmed that 81 countries have submitted films for consideration for this year’s Foreign Language Film Oscar.
Paraguay is the only first-time entrant.
The 2015 submissions are:
Afghanistan, “Utopia,” Hassan Nazer, director.
Albania, “Bota,” Iris Elezi, Thomas Logoreci, directors.
Algeria, “Twilight of Shadows,” Mohamed Lakhdar Hamina, director.
Argentina: “The Clan,” Pablo Trapero, director.
Australia: “Arrows of the Thunder Dragon,” Greg Sneddon, director.
Austria, “Goodnight Mommy,” Veronika Franz, Severin Fiala, directors;
Bangladesh, “Jalal’s Story,” Abu Shahed Emon, director;
Belgium, “The Brand New Testament,” Jaco Van Dormael, director;
Bosnia and Herzegovina, “Our Everyday Story,” Ines Tanović, director;
Brazil, “The Second Mother,” Anna Muylaert, director;
Bulgaria, “The Judgment,” Stephan Komandarev, director;
Cambodia, “The Last Reel,” Sotho...
The Us Academy of Motion Picture Arts and Sciences has confirmed that 81 countries have submitted films for consideration for this year’s Foreign Language Film Oscar.
Paraguay is the only first-time entrant.
The 2015 submissions are:
Afghanistan, “Utopia,” Hassan Nazer, director.
Albania, “Bota,” Iris Elezi, Thomas Logoreci, directors.
Algeria, “Twilight of Shadows,” Mohamed Lakhdar Hamina, director.
Argentina: “The Clan,” Pablo Trapero, director.
Australia: “Arrows of the Thunder Dragon,” Greg Sneddon, director.
Austria, “Goodnight Mommy,” Veronika Franz, Severin Fiala, directors;
Bangladesh, “Jalal’s Story,” Abu Shahed Emon, director;
Belgium, “The Brand New Testament,” Jaco Van Dormael, director;
Bosnia and Herzegovina, “Our Everyday Story,” Ines Tanović, director;
Brazil, “The Second Mother,” Anna Muylaert, director;
Bulgaria, “The Judgment,” Stephan Komandarev, director;
Cambodia, “The Last Reel,” Sotho...
- 10/8/2015
- ScreenDaily
Films from 81 countries have been subitted for this year’s Foreign Language Film Oscar, among them Felix and Meira, Under Milk Wood, Labyrinth of Lies and Sunstroke (click through for full list).
The Us Academy of Motion Picture Arts and Sciences has confirmed that 81 countries have submitted films for consideration for this year’s Foreign Language Film Oscar.
Paraguay is the only first-time entrant.
The 2015 submissions are:
Afghanistan, “Utopia,” Hassan Nazer, director.
Albania, “Bota,” Iris Elezi, Thomas Logoreci, directors.
Algeria, “Twilight of Shadows,” Mohamed Lakhdar Hamina, director.
Argentina: “The Clan,” Pablo Trapero, director.
Australia: “Arrows of the Thunder Dragon,” Greg Sneddon, director.
Austria, “Goodnight Mommy,” Veronika Franz, Severin Fiala, directors;
Bangladesh, “Jalal’s Story,” Abu Shahed Emon, director;
Belgium, “The Brand New Testament,” Jaco Van Dormael, director;
Bosnia and Herzegovina, “Our Everyday Story,” Ines Tanović, director;
Brazil, “The Second Mother,” Anna Muylaert, director;
Bulgaria, “The Judgment,” Stephan Komandarev, director;
Cambodia, “The Last Reel,” Sotho...
The Us Academy of Motion Picture Arts and Sciences has confirmed that 81 countries have submitted films for consideration for this year’s Foreign Language Film Oscar.
Paraguay is the only first-time entrant.
The 2015 submissions are:
Afghanistan, “Utopia,” Hassan Nazer, director.
Albania, “Bota,” Iris Elezi, Thomas Logoreci, directors.
Algeria, “Twilight of Shadows,” Mohamed Lakhdar Hamina, director.
Argentina: “The Clan,” Pablo Trapero, director.
Australia: “Arrows of the Thunder Dragon,” Greg Sneddon, director.
Austria, “Goodnight Mommy,” Veronika Franz, Severin Fiala, directors;
Bangladesh, “Jalal’s Story,” Abu Shahed Emon, director;
Belgium, “The Brand New Testament,” Jaco Van Dormael, director;
Bosnia and Herzegovina, “Our Everyday Story,” Ines Tanović, director;
Brazil, “The Second Mother,” Anna Muylaert, director;
Bulgaria, “The Judgment,” Stephan Komandarev, director;
Cambodia, “The Last Reel,” Sotho...
- 10/8/2015
- ScreenDaily
Writer-director-producer Greg Sneddon.s Bhutan-set drama Arrows of the Thunder Dragon is Australia.s entry for the best foreign language film Oscar.
Set in the 1970s, the story follows brother and sister Kuenphen and Jamyang who live in a remote Bhutanese village where they learn traditional archery from their old warrior grandfather.
Their mother's sudden sickness gives Kuenphen the opportunity to explore the world outside the village while Jamyang must stay home to weave, cook and get married- a fate she is not willing to accept without a fight.
The self-financed film was shot on location in the Himalayan mountains with a cast of local highland village people and a Bhutanese crew including DoP Leki Dorji, none of whom had worked on a feature. Jill Bilock is the editor.
"I'm thrilled to bits," Sneddon tell If. A former Buddhist monk, he got the idea for the film while on a pilgrimage to the country.
Set in the 1970s, the story follows brother and sister Kuenphen and Jamyang who live in a remote Bhutanese village where they learn traditional archery from their old warrior grandfather.
Their mother's sudden sickness gives Kuenphen the opportunity to explore the world outside the village while Jamyang must stay home to weave, cook and get married- a fate she is not willing to accept without a fight.
The self-financed film was shot on location in the Himalayan mountains with a cast of local highland village people and a Bhutanese crew including DoP Leki Dorji, none of whom had worked on a feature. Jill Bilock is the editor.
"I'm thrilled to bits," Sneddon tell If. A former Buddhist monk, he got the idea for the film while on a pilgrimage to the country.
- 10/8/2015
- by Don Groves
- IF.com.au
Son Of Saul
The Academy has announced that eighty-one countries have submitted films for consideration in the Foreign Language Film category for the 88th Oscars.
The Holocaust drama, Son Of Saul, won the Grand Prix at Cannes in May.
Paraguay is a first-time entrant.
The 2015 submissions are:
Afghanistan, “Utopia,” Hassan Nazer, director;
Albania, “Bota,” Iris Elezi, Thomas Logoreci, directors;
Algeria, “Twilight of Shadows,” Mohamed Lakhdar Hamina, director;
Argentina, “The Clan,” Pablo Trapero, director;
Australia, “Arrows of the Thunder Dragon,” Greg Sneddon, director;
Austria, “Goodnight Mommy,” Veronika Franz, Severin Fiala, directors;
Bangladesh, “Jalal’s Story,” Abu Shahed Emon, director;
Belgium, “The Brand New Testament,” Jaco Van Dormael, director;
Bosnia and Herzegovina, “Our Everyday Story,” Ines Tanović, director;
Brazil, “The Second Mother,” Anna Muylaert, director;
Bulgaria, “The Judgment,” Stephan Komandarev, director;
Cambodia, “The Last Reel,” Sotho Kulikar, director;
Canada, “Félix and Meira,” Maxime Giroux, director;
Chile, “The Club,” Pablo Larraín, director;
China,...
The Academy has announced that eighty-one countries have submitted films for consideration in the Foreign Language Film category for the 88th Oscars.
The Holocaust drama, Son Of Saul, won the Grand Prix at Cannes in May.
Paraguay is a first-time entrant.
The 2015 submissions are:
Afghanistan, “Utopia,” Hassan Nazer, director;
Albania, “Bota,” Iris Elezi, Thomas Logoreci, directors;
Algeria, “Twilight of Shadows,” Mohamed Lakhdar Hamina, director;
Argentina, “The Clan,” Pablo Trapero, director;
Australia, “Arrows of the Thunder Dragon,” Greg Sneddon, director;
Austria, “Goodnight Mommy,” Veronika Franz, Severin Fiala, directors;
Bangladesh, “Jalal’s Story,” Abu Shahed Emon, director;
Belgium, “The Brand New Testament,” Jaco Van Dormael, director;
Bosnia and Herzegovina, “Our Everyday Story,” Ines Tanović, director;
Brazil, “The Second Mother,” Anna Muylaert, director;
Bulgaria, “The Judgment,” Stephan Komandarev, director;
Cambodia, “The Last Reel,” Sotho Kulikar, director;
Canada, “Félix and Meira,” Maxime Giroux, director;
Chile, “The Club,” Pablo Larraín, director;
China,...
- 10/8/2015
- by Michelle McCue
- WeAreMovieGeeks.com
“You were all Nazis,” exclaims an American sergeant when a young German prosecutor, Johann Radmann (Alexander Fehling), requests to see records from WWII that incriminate all those who played a role in the Nazi’s final solution. While the statement broadly generalizes the role everyday Germans played in the unspeakable genocide, it effectively encompasses the philosophical debate at the center of Giulio Ricciarelli's historical drama “Labyrinth of Lies.”
Ignorance and indifference towards their country's deeds prevailed among the German population during the years immediately after the war ended. The people did not want to hear that their neighbor, their relative, or their own husband or wife was involved in the murder of millions of people across Europe. Grappling with such devastating guilt was a process that Germany as a country couldn’t begin until the truth was known, and until those who willingly participated were exposed, tried and punished.
In order to explore the ramifications and importance of the country putting its own soldiers on trial, Ricciarelli decided not to focus on the actual trials but rather on the uphill battle that Prosecutor General Fritz Bauer and public prosecutors, personified here via Johann, had to undergo in order to begin to mend the damage that silence and misinformation had caused. Classically crafted with impeccable locations, distinctive production design, perfect costumes, and a certain European elegance, “Labyrinth of Lies” is a fantastic example of top-notch filmmaking in service of a resonant story that is thought-provoking, morally complex, and completely engrossing.
During this extensive conversation with the Italian-born filmmaker Giulio Ricciarelli and the star of the film, Alexander Fehling, we discussed the multiple themes explored through Johann's transformation, the historical relevance of Fritz Bauer's trials, and the open wound that still haunts numerous families in Germany and elsewhere.
"Labyrinth of Lies" is now playing in select cities in the U.S. via Sony Pictures Classics.
Aguilar: As a filmmaker you are dealing with a very serious and important historical subject in “Labyrinth of Lies,” yet you manage to make a balanced experience that even includes a few moments of lightness. Why was this tonal complexity important for your story?
Giulio Ricciarelli: The subject is of course heavy and the same time we wanted to make a true feature film. There's also the Italian part me of that thinks in every drama there is also lightness and in humor there is sadness. It’s always good when a movie has both. I also felt it was important that it was almost like music. There are some scenes that go very deep and that people are moved by, but then you have to breathe and there is a moment of laughter. It becomes more rhythmical almost like a musical piece. If you make music you cannot just have forte all the time, people would just be turned off. This is something that we were looking for, to make it an actual experience where you take the audience deeper and deeper into the story. Sometimes that means letting your audience breathe or allow for laughter with a lighter scene instead of just hammering the subject home, because when a film does that it becomes very didactic.
Aguilar: Alex, your character decomposes spiritually in front of our eyes. He starts out like a very eager young man trying to make a difference and by the end of the film he has gone on this profound trip discovering the darkness in his country’s past. What was the most difficult aspect about playing Johann?
Alexander Fehling: It was a gift. First of all, it’s always great when you have a story that is more than you think you are capable of playing and you have a subject that is more than just a fictional story. Like you said, the arc of the character is very interesting and it goes many ways, that’s how we experience life as well right? It’s very ambiguous, and it’s complicated, and it contradicts itself; all of these things you find in this character. In the beginning of the film he is pretty sure of himself and he thinks that he knows what is right and what is wrong. The biggest point is that he thinks he knows how he would have acted in situations like that and in the end he arrives at another level where he understands that his perception of all these things was way too simplistic and there is a certain dignity about him in the end. It was a very interesting character to play.
Aguilar: At first he has a very superficial and erroneous view of what happened, very clear-cut, black and white, but then there is a scene where he is interviewing the first of many Holocaust survivors. He hears the atrocities and the number of people who died, and it seems like a powerful, non-verbal, turning point in the film. His expression says it all.
Alexander Fehling: There is this long silence with hundreds of thoughts.
Aguilar: He doesn’t say a word but we know he just realized the magnitude of it all.
Giulio Ricciarelli: That scene was always quite essential to make people feel how difficult it must have been to enter this without knowing about it, which was the case for these prosecutors. If I said to you, you can investigate the crimes against the Native Americans, you’d say, “Yes, that’s a great job,” and then the second thought would be, “How do I start?” It’s a huge subject. Johann has those feelings. He is young, he is ambitious, he is glad to have the job, but suddenly he realizes this is much more enormous. One of the most important things for us was to convey how far the denial, or the sweeping under the rug, had gone in Germany. We wanted to emphasize that he didn’t know and that a lot of people had no idea of what had happened there. That was important. Also, that scene was a blessing from the actors. All five actors in the scene are excellent, Alexander of course, the secretary, the translator, and the Polish survivor. They gave extraordinary performances. It’s one of my favorite scenes because it’s like if you are fishing and you suddenly realize it’s not a fish but a whale that you have. It’s a huge, powerful, painful, and complex scene, and he grasps all of these things in this moment.
Aguilar: There is also another important revelation in Johann’s journey that has to do with his own father.
Giulio Ricciarelli: The father is important because there is a scene that's actually like the prelude when Friedberg asks him "You want every son to ask himself if his father was a murderer?" And Johann says, "Yes, that's exactly what I want!" At that point we know he is obsessed. But then when it happens to him he does what everybody else does, he denies at first. What makes the character a hero, in my opinion, is that he asks. The first reaction is very human, he says, "No, I don't want to hear about it. It's a lie.” He then has a dream where his obsession with Mengele and his father kind of merge. After this he goes to the American and asks, "What did my father do?" The American says, "Don't go there," but Johann replies, "I have to know!" That is very brave in a very classical sense
Alexander Fehling: Do you think he is a hero?
Giulio Ricciarelli: Yes, to me a hero is one who does the right thing. It's heroic that he doesn't deny it and that he starts asking. He confronts his own father at that moment.
Aguilar: Who is the person or memory he holds the most sacred...
Giulio Ricciarelli: Yes, and that destroys him to a certain degree. Then there is this whole sequence where he breaks up with the girl and his friends confesses what he did. He is almost lost because he quits his job and starts working for an attorney, and as a film that's as close as you come to being lost. He then goes to Auschwitz and he changes and becomes a new man.
Aguilar: The fact that he first has to be hurt and destroyed before he can become a new man seems to be a metaphor that speaks about the way one must first confront the truth, even if it's harsh, and then from there change and evolve. That seems to really relate to the experience of the German people who had to face the horrific reality of what they as a country did. Is this something you wanted to explore via this character?
Giulio Ricciarelli: Absolutely, but that is something that's up for debate. There are many people who would say, "No, that doesn’t work." I believe that in our personal life and also as a country, you have to face who you are and what happened in your past to be able to build a future. You can talk to many people who will say, “Don't look at traumas, just look forward.” It makes no sense, but I believe very strongly that is essential. That's really about being a phoenix out of the ashes or a caterpillar. That's a big myth of humanity, dying and being reborn basically.
Alexander Fehling: Even in our personal lives I think. When do we as human beings change? When do we change? We don't change when we should, we don't change when we want to, we change when we can't stand where we are anymore. When we just can't do it anymore, when it's too much, then you either die or you are reborn and you change something. You decide on something whether you know it's right or wrong.
Aguilar: These trials and the story leading up to them pitted Germans against Germans. It's not against a foreign country, it's all within this society grappling with their very recent past. It’s definitely one of the most thought-provoking ideas in the film.
Giulio Ricciarelli: That was the historical dimension. It was the first time that kind of trial ever happened in history, not only in German history, but in all of history. There had never been a trial where a country tried its own soldiers for what they did. A country would put its soldiers on trial when they would flee from the enemy. Then there was a trial with a court-martial, but the whole concept of a country judging its own soldiers was a big part of Fritz Bauer’s work. He said, "Nobody has the right to obedience," in the sense that everybody is an individual and is responsible for what he does, even in a war. This was a very new concept that today in democracies we take for granted, we are used to it, but back then it was unthinkable. The fact that this trial actually happened was a huge historic step, not only for Germany but also for all countries.
Aguilar: They dared to confront their own demons
Giulio Ricciarelli: That was Fritz Bauer’s vision. He didn't do the trial for revenge. He wanted to educate people. He said, "Germans sitting in judgement over Germans, it has to be done," and that was the historical dimension of it.
Aguilar: What has been the reaction toward the film in Germany? Would you say there is still an open wound even after all these years? When a movie like “Labyrinth of Lies” comes around, does it still stir up feelings from the past?
Giulio Ricciarelli: Germany has made the decision to deal with the past, but this time, this trial and Fritz, are almost forgotten. What was very interesting to me is that within certain families it's still very much raw and alive. It’s still an open wound in a way in many families still today. We do Q&As and people come to us and they tell us their stories. I had one woman come to me and said, "You know we have a box from our grandfather in our family and it's locked. We are all afraid to open the box because we don't want to know what our grandfather did during the war." Another woman came and said that, through the publicity we had done for the film on the Internet, she found out somebody from her family was on trial at the Fritz trial. For 50 years she had no idea and because it was one of the prominent names she saw it and said, "That's my family!" She had found out just months before watching the film. We also met a Vietnamese journalist that was so emotional because the film resonated so much with her own story. There is still a lot of rawness.
I felt it was an important story, but I thought the wound was by now a scar, that it was healed over. The truth is that if you look at what's still going on in a lot of families, it's still there. Another time in Brussels somebody in the audience said, "Is it not time to stop telling this story," and I said, "You know, first of all I think it's a story that hasn't been told." Then I told him what I just told you about how many people are still alive dealing with this and I quoted Faulkner, "The past is never dead, it’s not even past." Then this other young woman came to me and she was crying and said, "Thank you for the movie, but also thank you for what you just said. My grandfather died in Auschwitz." This young woman doesn't have a grandfather, and that's something she still feels. She was crying, so that's not a wound that has healed because she will live with that her whole life. She definitely felt that in that moment very much. That was something that actually surprised us.
Alexander Fehling: In short the reaction has been very positive [Laughs]. But it's also fair to say that for the younger generation is tired of the subject. Not everybody, but many people who are even younger than me or my generation think, "Ok, this has nothing to do with my life. I don't watch these movies anymore. I don't want to hear abut it anymore. I heard it in school. I know enough about it." Unfortunately there is a certain tiredness or indifference about it.
Giulio Ricciarelli: I was at the Museum of Tolerance here in La and the scholars have a word for it, they call it "Holocaust Fatigue." It's really a term and not just in Germany. That's something I think that people who make films about memory and about this time have to deal with. There is this feeling of tiredness, but it was never somebody who saw our film.
Alexander Fehling: This tiredness is a fact and this is Germany today. This indifference is interesting too and these young people will be older one day as well and their perception might change.
Aguilar: Perhaps, but even if they feel like this has nothing to do with them, in some ways this chapter in history, the Holocaust and WWII, is embedded into the German identity, particular outside of Germany.
Alexander Fehling: Absolutely.
Aguilar: There is a line in the film delivered by the American character, "You were all Nazis!" Certainly he doesn't mean that every single person was actively involved, but indirectly it's a shared responsibility. How can the country deal with something so terrible at such great scale? Was this something that you though about while writing the film.
Giulio Ricciarelli: I think there is a certain tendency in the movies that come out of Germany to not tell the story in that way but to tell stories about five evil Nazis and say that everyone else was just part of the confused population. There is a tendency to tell it like that; that’s what my movie doesn't do. There is a line where Mulka says, "I just followed orders," and Johann ironically says, "Yeah, everybody just followed orders and in the end is just Hitler's fault." The movie doesn't support that, but at the same time that's the other part that I feel is very important, that it doesn't sit on a high moral horse. Instead, the main character says, "I don't know what I would have done." If everyone who thinks about these times tells the truth, we would say that we don't know how we would react. In a way that's the obsession of Alexander's character: what's right and what's wrong. Fritz says to him, "That's not what this is about. It's not about who is guilty. It's about the stories and putting this on the map.” That's something his character goes through. There is also a character who to me is very vital, Haller, the other prosecutor who works with Johann. He has an epiphany and says, "All we had to do was open our eyes." Maybe you were not involved in the Holocaust, but you didn't ask or you asked once and they told you it was a protection camp and you said, "Ok, it was a protection camp."
Alexander Fehling: And that kind of makes you part of this whole thing. On the other hand, it's an American character that says the line you mentioned.
Aguilar: Which of course makes it trickier in terms of his moral ground.
Alexander Fehling: It's totally Ok because the truth lies somewhere in between, somewhere in the gray. There is always also a tendency to simplify these things. Look at Germany many, many years later dealing with the Gdr. When I talk to people in America they think that the Gdr was like a dark place where everybody suffered for years and years and nobody was free. That's not true at all and I don't want to justify this political system at all - I was eight when The Wall came down and I was born in East Germany - but sometimes statements like what the American says tell you more about how the person that says it doesn't really know what he is talking about.
Aguilar: As you mentioned, no one can get in a high horse and morally judge these people thinking we would do be any different, but do you hope that, like many characters in the film, that people will start questioning more about what they think is the absolute truth.
Giulio Ricciarelli: All these characters, like the secretary or Haller, they are also mirrors of the importance of this trial. At the beginning Haller belittles the whole thing by saying, "Oh everybody had camps." He says all the things Germans said at that time, but then he changes through Johann's efforts to have this trial and deal with it. Of course, with this kind of film you have the central theme and you try to make every character a variation of that theme. There is also the young girl who helps Johann. She gets a black eye and she loses her job. Also Fischer, he is sort of like a German FBI guy, who helps him and also loses his job. His career is ruined. I wanted them to have an interaction with the main character and contribute to the theme of the film.
Aguilar: You also chose not to show the actual trial at all. Of course that’s the important goal, but it seems to me that the film is really about how these characters get there. There is also no flashbacks or images that show what actually happened in Auschwitz.
Giulio Ricciarelli: Maybe there will be a movie about the trial, but I personally felt the most important part was actually how was the atmosphere in Germany at the time and how difficult was it to make the trial happen. If you decide to focus on the trial, then basically that's your movie: the trial. That would be your movie and maybe at the beginning you can have a title card explaining that at the end of the 50s Germans didn't know about the Holocaust till the trial took place. Explaining it that way is not the same because people would not feel it, so to us that was the most important thing. Secondly, as a filmmaker I would not want to put an actor in a costume and have him act like he is a survivor and telling them, "Ok now you look like this and now you say this." Audiences are sophisticated, you probably have seen 50 films about the Holocaust including documentaries, and so you have all the images in your mind. If I show you somebody pretending you can always tell that's an actor playing a part. You would never feel that person is a survivor and I didn't want to recreate the atrocities.
Alexander Fehling: I think it's not only about the audience, but also about the people who really experienced it. I think out of respect and out of this unbelievable dimension no one should fake it or pretend to be a survivor.
Giulio Ricciarelli: Claude Lanzmann, who directed "Shoah" in the 80s, was very clear, "You cannot show it. It cannot be shown." That's what he said referring to showing the actual atrocities. That's why he went and interviewed the survivors.
Alexander Fehling: You'd simplify it. If you show it you violate these people again.
Aguilar: When Johann interviews the survivors in the film we never hear their stories either. There is music in a montage that really focuses on the appalled reactions of those who didn't know. That's a compelling approach.
Alexander Fehling: Most people who write about the film always mention this particular sequence.
Giulio Ricciarelli: Yes, and I always say that I'm happy as a filmmaker that people like it, but basically all we did was allow the film to step back at that moment and let the audience feel what they feel and it gives just enough. You see their faces and you hear the music, which is a very simple song from a Synagogue. It's not a big musical score. It's very simple. Johann's and the secretary's reactions are vey powerful. People bring their own Holocaust stories or ideas into this moment.
Aguilar: We fill in the gap with we've learned in books or seen in other films.
Giulio Ricciarelli: Exactly! This would be the moment where we could have had a flashback, but the audience would think, "Ok, how will they show this to us?" It would not be emotional, but in this scene, since you see them and you have all this knowledge, you bring it into the film. I felt the same way about showing the trial, which of course we didn’t do,
Aguilar: Another interesting choice you make is to give Johann a sort of token villain to pursue, the infamous Mengele. Why was this important?
Giulio Ricciarelli: For his emotional journey the obsession with Mengele is a mistake once he realizes how big this is. He fixates on Mengele because he is pure evil. Hating pure evil is easy, but the horrible thing about the trial is that you face what so-called "normal people" did. Psychologically that's much more difficult to see because there have been evil people in history and you can hate them, but to realize that a baker who gives a lollipop to a girl is somebody who could kill thousands or that other people who were "normal" also did that and have now reintegrated into society, that's actually the big step. To confront that is much harder. Of course, it's right to hunt for Mengele, but Fritz makes it very clear in the dialogue that this obsession is not everything. When Johann says, "Mengele is Auschwitz," Fritz says, "No, those who participated and who didn't say no, they are Auschwitz." That's a big philosophical debate. Mengele is as we'd say in Germany "a path of wood," it's a wrong path. His obsession with Mangele is leading him into a wrong path. That's not his job, his job is to make the trial happen and to put "normal people" on trial.
Alexander Fehling: I read a lot about Germany at the time, Fritz’ biography, about what happened during these trials, what they achieved, and about the obstacles against making them happen. When Giulio was writing the script he was working with historians that I also met. Johann, the character I play, is a composite of three prosecutors. I also met one of these prosecutors who is still around. He is 87 years old. I had the great fortune of talking to him as well. There were also audio files from these trials, which amount to more than 400 hours. I listened to some of these.
Aguilar: I know you were born in Italy, what's your relationship with Germany and was it a big surprises to find out "Labyrinth of Lies" is representing Germany at the Oscars?
Giulio Ricciarelli: My mother was German and I grew up in Germany.
Alexander Fehling: That doesn't give you the right to make this film! [Laughs].
Giulio Ricciarelli: Yes! [Laughs]. When we started we knew we had a good story and it's my feature debut, so now everything else is a bonus. What we all really wanted was for the audience to have a really deep experience with this film. I didn't think about festivals, critics, awards or nominations, so everything that's happening now as the film travels the world feels like a gift.
"Labyrinth of Lies" is now playing in select cities via Sony Pictures Classics. International sales by Beta: Argentina - Cdi Films, Australia – Madman, Benelux - Lumière, Brazil - Mares Filmes, Canada, Métropole, Mongrel Media, France, Universcine, Sophie, Germany – Universal, Israel – Nachshon, Italy - Good Films, Japan – At Entertainment, Poland - Aurora Films, Portugal - Films4you, Spain – DEA Planeta, Switzerland – Universal, Taiwan - Swallow Wings, Turkey – Fabula, U.S. – Sony Pictures Classics...
Ignorance and indifference towards their country's deeds prevailed among the German population during the years immediately after the war ended. The people did not want to hear that their neighbor, their relative, or their own husband or wife was involved in the murder of millions of people across Europe. Grappling with such devastating guilt was a process that Germany as a country couldn’t begin until the truth was known, and until those who willingly participated were exposed, tried and punished.
In order to explore the ramifications and importance of the country putting its own soldiers on trial, Ricciarelli decided not to focus on the actual trials but rather on the uphill battle that Prosecutor General Fritz Bauer and public prosecutors, personified here via Johann, had to undergo in order to begin to mend the damage that silence and misinformation had caused. Classically crafted with impeccable locations, distinctive production design, perfect costumes, and a certain European elegance, “Labyrinth of Lies” is a fantastic example of top-notch filmmaking in service of a resonant story that is thought-provoking, morally complex, and completely engrossing.
During this extensive conversation with the Italian-born filmmaker Giulio Ricciarelli and the star of the film, Alexander Fehling, we discussed the multiple themes explored through Johann's transformation, the historical relevance of Fritz Bauer's trials, and the open wound that still haunts numerous families in Germany and elsewhere.
"Labyrinth of Lies" is now playing in select cities in the U.S. via Sony Pictures Classics.
Aguilar: As a filmmaker you are dealing with a very serious and important historical subject in “Labyrinth of Lies,” yet you manage to make a balanced experience that even includes a few moments of lightness. Why was this tonal complexity important for your story?
Giulio Ricciarelli: The subject is of course heavy and the same time we wanted to make a true feature film. There's also the Italian part me of that thinks in every drama there is also lightness and in humor there is sadness. It’s always good when a movie has both. I also felt it was important that it was almost like music. There are some scenes that go very deep and that people are moved by, but then you have to breathe and there is a moment of laughter. It becomes more rhythmical almost like a musical piece. If you make music you cannot just have forte all the time, people would just be turned off. This is something that we were looking for, to make it an actual experience where you take the audience deeper and deeper into the story. Sometimes that means letting your audience breathe or allow for laughter with a lighter scene instead of just hammering the subject home, because when a film does that it becomes very didactic.
Aguilar: Alex, your character decomposes spiritually in front of our eyes. He starts out like a very eager young man trying to make a difference and by the end of the film he has gone on this profound trip discovering the darkness in his country’s past. What was the most difficult aspect about playing Johann?
Alexander Fehling: It was a gift. First of all, it’s always great when you have a story that is more than you think you are capable of playing and you have a subject that is more than just a fictional story. Like you said, the arc of the character is very interesting and it goes many ways, that’s how we experience life as well right? It’s very ambiguous, and it’s complicated, and it contradicts itself; all of these things you find in this character. In the beginning of the film he is pretty sure of himself and he thinks that he knows what is right and what is wrong. The biggest point is that he thinks he knows how he would have acted in situations like that and in the end he arrives at another level where he understands that his perception of all these things was way too simplistic and there is a certain dignity about him in the end. It was a very interesting character to play.
Aguilar: At first he has a very superficial and erroneous view of what happened, very clear-cut, black and white, but then there is a scene where he is interviewing the first of many Holocaust survivors. He hears the atrocities and the number of people who died, and it seems like a powerful, non-verbal, turning point in the film. His expression says it all.
Alexander Fehling: There is this long silence with hundreds of thoughts.
Aguilar: He doesn’t say a word but we know he just realized the magnitude of it all.
Giulio Ricciarelli: That scene was always quite essential to make people feel how difficult it must have been to enter this without knowing about it, which was the case for these prosecutors. If I said to you, you can investigate the crimes against the Native Americans, you’d say, “Yes, that’s a great job,” and then the second thought would be, “How do I start?” It’s a huge subject. Johann has those feelings. He is young, he is ambitious, he is glad to have the job, but suddenly he realizes this is much more enormous. One of the most important things for us was to convey how far the denial, or the sweeping under the rug, had gone in Germany. We wanted to emphasize that he didn’t know and that a lot of people had no idea of what had happened there. That was important. Also, that scene was a blessing from the actors. All five actors in the scene are excellent, Alexander of course, the secretary, the translator, and the Polish survivor. They gave extraordinary performances. It’s one of my favorite scenes because it’s like if you are fishing and you suddenly realize it’s not a fish but a whale that you have. It’s a huge, powerful, painful, and complex scene, and he grasps all of these things in this moment.
Aguilar: There is also another important revelation in Johann’s journey that has to do with his own father.
Giulio Ricciarelli: The father is important because there is a scene that's actually like the prelude when Friedberg asks him "You want every son to ask himself if his father was a murderer?" And Johann says, "Yes, that's exactly what I want!" At that point we know he is obsessed. But then when it happens to him he does what everybody else does, he denies at first. What makes the character a hero, in my opinion, is that he asks. The first reaction is very human, he says, "No, I don't want to hear about it. It's a lie.” He then has a dream where his obsession with Mengele and his father kind of merge. After this he goes to the American and asks, "What did my father do?" The American says, "Don't go there," but Johann replies, "I have to know!" That is very brave in a very classical sense
Alexander Fehling: Do you think he is a hero?
Giulio Ricciarelli: Yes, to me a hero is one who does the right thing. It's heroic that he doesn't deny it and that he starts asking. He confronts his own father at that moment.
Aguilar: Who is the person or memory he holds the most sacred...
Giulio Ricciarelli: Yes, and that destroys him to a certain degree. Then there is this whole sequence where he breaks up with the girl and his friends confesses what he did. He is almost lost because he quits his job and starts working for an attorney, and as a film that's as close as you come to being lost. He then goes to Auschwitz and he changes and becomes a new man.
Aguilar: The fact that he first has to be hurt and destroyed before he can become a new man seems to be a metaphor that speaks about the way one must first confront the truth, even if it's harsh, and then from there change and evolve. That seems to really relate to the experience of the German people who had to face the horrific reality of what they as a country did. Is this something you wanted to explore via this character?
Giulio Ricciarelli: Absolutely, but that is something that's up for debate. There are many people who would say, "No, that doesn’t work." I believe that in our personal life and also as a country, you have to face who you are and what happened in your past to be able to build a future. You can talk to many people who will say, “Don't look at traumas, just look forward.” It makes no sense, but I believe very strongly that is essential. That's really about being a phoenix out of the ashes or a caterpillar. That's a big myth of humanity, dying and being reborn basically.
Alexander Fehling: Even in our personal lives I think. When do we as human beings change? When do we change? We don't change when we should, we don't change when we want to, we change when we can't stand where we are anymore. When we just can't do it anymore, when it's too much, then you either die or you are reborn and you change something. You decide on something whether you know it's right or wrong.
Aguilar: These trials and the story leading up to them pitted Germans against Germans. It's not against a foreign country, it's all within this society grappling with their very recent past. It’s definitely one of the most thought-provoking ideas in the film.
Giulio Ricciarelli: That was the historical dimension. It was the first time that kind of trial ever happened in history, not only in German history, but in all of history. There had never been a trial where a country tried its own soldiers for what they did. A country would put its soldiers on trial when they would flee from the enemy. Then there was a trial with a court-martial, but the whole concept of a country judging its own soldiers was a big part of Fritz Bauer’s work. He said, "Nobody has the right to obedience," in the sense that everybody is an individual and is responsible for what he does, even in a war. This was a very new concept that today in democracies we take for granted, we are used to it, but back then it was unthinkable. The fact that this trial actually happened was a huge historic step, not only for Germany but also for all countries.
Aguilar: They dared to confront their own demons
Giulio Ricciarelli: That was Fritz Bauer’s vision. He didn't do the trial for revenge. He wanted to educate people. He said, "Germans sitting in judgement over Germans, it has to be done," and that was the historical dimension of it.
Aguilar: What has been the reaction toward the film in Germany? Would you say there is still an open wound even after all these years? When a movie like “Labyrinth of Lies” comes around, does it still stir up feelings from the past?
Giulio Ricciarelli: Germany has made the decision to deal with the past, but this time, this trial and Fritz, are almost forgotten. What was very interesting to me is that within certain families it's still very much raw and alive. It’s still an open wound in a way in many families still today. We do Q&As and people come to us and they tell us their stories. I had one woman come to me and said, "You know we have a box from our grandfather in our family and it's locked. We are all afraid to open the box because we don't want to know what our grandfather did during the war." Another woman came and said that, through the publicity we had done for the film on the Internet, she found out somebody from her family was on trial at the Fritz trial. For 50 years she had no idea and because it was one of the prominent names she saw it and said, "That's my family!" She had found out just months before watching the film. We also met a Vietnamese journalist that was so emotional because the film resonated so much with her own story. There is still a lot of rawness.
I felt it was an important story, but I thought the wound was by now a scar, that it was healed over. The truth is that if you look at what's still going on in a lot of families, it's still there. Another time in Brussels somebody in the audience said, "Is it not time to stop telling this story," and I said, "You know, first of all I think it's a story that hasn't been told." Then I told him what I just told you about how many people are still alive dealing with this and I quoted Faulkner, "The past is never dead, it’s not even past." Then this other young woman came to me and she was crying and said, "Thank you for the movie, but also thank you for what you just said. My grandfather died in Auschwitz." This young woman doesn't have a grandfather, and that's something she still feels. She was crying, so that's not a wound that has healed because she will live with that her whole life. She definitely felt that in that moment very much. That was something that actually surprised us.
Alexander Fehling: In short the reaction has been very positive [Laughs]. But it's also fair to say that for the younger generation is tired of the subject. Not everybody, but many people who are even younger than me or my generation think, "Ok, this has nothing to do with my life. I don't watch these movies anymore. I don't want to hear abut it anymore. I heard it in school. I know enough about it." Unfortunately there is a certain tiredness or indifference about it.
Giulio Ricciarelli: I was at the Museum of Tolerance here in La and the scholars have a word for it, they call it "Holocaust Fatigue." It's really a term and not just in Germany. That's something I think that people who make films about memory and about this time have to deal with. There is this feeling of tiredness, but it was never somebody who saw our film.
Alexander Fehling: This tiredness is a fact and this is Germany today. This indifference is interesting too and these young people will be older one day as well and their perception might change.
Aguilar: Perhaps, but even if they feel like this has nothing to do with them, in some ways this chapter in history, the Holocaust and WWII, is embedded into the German identity, particular outside of Germany.
Alexander Fehling: Absolutely.
Aguilar: There is a line in the film delivered by the American character, "You were all Nazis!" Certainly he doesn't mean that every single person was actively involved, but indirectly it's a shared responsibility. How can the country deal with something so terrible at such great scale? Was this something that you though about while writing the film.
Giulio Ricciarelli: I think there is a certain tendency in the movies that come out of Germany to not tell the story in that way but to tell stories about five evil Nazis and say that everyone else was just part of the confused population. There is a tendency to tell it like that; that’s what my movie doesn't do. There is a line where Mulka says, "I just followed orders," and Johann ironically says, "Yeah, everybody just followed orders and in the end is just Hitler's fault." The movie doesn't support that, but at the same time that's the other part that I feel is very important, that it doesn't sit on a high moral horse. Instead, the main character says, "I don't know what I would have done." If everyone who thinks about these times tells the truth, we would say that we don't know how we would react. In a way that's the obsession of Alexander's character: what's right and what's wrong. Fritz says to him, "That's not what this is about. It's not about who is guilty. It's about the stories and putting this on the map.” That's something his character goes through. There is also a character who to me is very vital, Haller, the other prosecutor who works with Johann. He has an epiphany and says, "All we had to do was open our eyes." Maybe you were not involved in the Holocaust, but you didn't ask or you asked once and they told you it was a protection camp and you said, "Ok, it was a protection camp."
Alexander Fehling: And that kind of makes you part of this whole thing. On the other hand, it's an American character that says the line you mentioned.
Aguilar: Which of course makes it trickier in terms of his moral ground.
Alexander Fehling: It's totally Ok because the truth lies somewhere in between, somewhere in the gray. There is always also a tendency to simplify these things. Look at Germany many, many years later dealing with the Gdr. When I talk to people in America they think that the Gdr was like a dark place where everybody suffered for years and years and nobody was free. That's not true at all and I don't want to justify this political system at all - I was eight when The Wall came down and I was born in East Germany - but sometimes statements like what the American says tell you more about how the person that says it doesn't really know what he is talking about.
Aguilar: As you mentioned, no one can get in a high horse and morally judge these people thinking we would do be any different, but do you hope that, like many characters in the film, that people will start questioning more about what they think is the absolute truth.
Giulio Ricciarelli: All these characters, like the secretary or Haller, they are also mirrors of the importance of this trial. At the beginning Haller belittles the whole thing by saying, "Oh everybody had camps." He says all the things Germans said at that time, but then he changes through Johann's efforts to have this trial and deal with it. Of course, with this kind of film you have the central theme and you try to make every character a variation of that theme. There is also the young girl who helps Johann. She gets a black eye and she loses her job. Also Fischer, he is sort of like a German FBI guy, who helps him and also loses his job. His career is ruined. I wanted them to have an interaction with the main character and contribute to the theme of the film.
Aguilar: You also chose not to show the actual trial at all. Of course that’s the important goal, but it seems to me that the film is really about how these characters get there. There is also no flashbacks or images that show what actually happened in Auschwitz.
Giulio Ricciarelli: Maybe there will be a movie about the trial, but I personally felt the most important part was actually how was the atmosphere in Germany at the time and how difficult was it to make the trial happen. If you decide to focus on the trial, then basically that's your movie: the trial. That would be your movie and maybe at the beginning you can have a title card explaining that at the end of the 50s Germans didn't know about the Holocaust till the trial took place. Explaining it that way is not the same because people would not feel it, so to us that was the most important thing. Secondly, as a filmmaker I would not want to put an actor in a costume and have him act like he is a survivor and telling them, "Ok now you look like this and now you say this." Audiences are sophisticated, you probably have seen 50 films about the Holocaust including documentaries, and so you have all the images in your mind. If I show you somebody pretending you can always tell that's an actor playing a part. You would never feel that person is a survivor and I didn't want to recreate the atrocities.
Alexander Fehling: I think it's not only about the audience, but also about the people who really experienced it. I think out of respect and out of this unbelievable dimension no one should fake it or pretend to be a survivor.
Giulio Ricciarelli: Claude Lanzmann, who directed "Shoah" in the 80s, was very clear, "You cannot show it. It cannot be shown." That's what he said referring to showing the actual atrocities. That's why he went and interviewed the survivors.
Alexander Fehling: You'd simplify it. If you show it you violate these people again.
Aguilar: When Johann interviews the survivors in the film we never hear their stories either. There is music in a montage that really focuses on the appalled reactions of those who didn't know. That's a compelling approach.
Alexander Fehling: Most people who write about the film always mention this particular sequence.
Giulio Ricciarelli: Yes, and I always say that I'm happy as a filmmaker that people like it, but basically all we did was allow the film to step back at that moment and let the audience feel what they feel and it gives just enough. You see their faces and you hear the music, which is a very simple song from a Synagogue. It's not a big musical score. It's very simple. Johann's and the secretary's reactions are vey powerful. People bring their own Holocaust stories or ideas into this moment.
Aguilar: We fill in the gap with we've learned in books or seen in other films.
Giulio Ricciarelli: Exactly! This would be the moment where we could have had a flashback, but the audience would think, "Ok, how will they show this to us?" It would not be emotional, but in this scene, since you see them and you have all this knowledge, you bring it into the film. I felt the same way about showing the trial, which of course we didn’t do,
Aguilar: Another interesting choice you make is to give Johann a sort of token villain to pursue, the infamous Mengele. Why was this important?
Giulio Ricciarelli: For his emotional journey the obsession with Mengele is a mistake once he realizes how big this is. He fixates on Mengele because he is pure evil. Hating pure evil is easy, but the horrible thing about the trial is that you face what so-called "normal people" did. Psychologically that's much more difficult to see because there have been evil people in history and you can hate them, but to realize that a baker who gives a lollipop to a girl is somebody who could kill thousands or that other people who were "normal" also did that and have now reintegrated into society, that's actually the big step. To confront that is much harder. Of course, it's right to hunt for Mengele, but Fritz makes it very clear in the dialogue that this obsession is not everything. When Johann says, "Mengele is Auschwitz," Fritz says, "No, those who participated and who didn't say no, they are Auschwitz." That's a big philosophical debate. Mengele is as we'd say in Germany "a path of wood," it's a wrong path. His obsession with Mangele is leading him into a wrong path. That's not his job, his job is to make the trial happen and to put "normal people" on trial.
Alexander Fehling: I read a lot about Germany at the time, Fritz’ biography, about what happened during these trials, what they achieved, and about the obstacles against making them happen. When Giulio was writing the script he was working with historians that I also met. Johann, the character I play, is a composite of three prosecutors. I also met one of these prosecutors who is still around. He is 87 years old. I had the great fortune of talking to him as well. There were also audio files from these trials, which amount to more than 400 hours. I listened to some of these.
Aguilar: I know you were born in Italy, what's your relationship with Germany and was it a big surprises to find out "Labyrinth of Lies" is representing Germany at the Oscars?
Giulio Ricciarelli: My mother was German and I grew up in Germany.
Alexander Fehling: That doesn't give you the right to make this film! [Laughs].
Giulio Ricciarelli: Yes! [Laughs]. When we started we knew we had a good story and it's my feature debut, so now everything else is a bonus. What we all really wanted was for the audience to have a really deep experience with this film. I didn't think about festivals, critics, awards or nominations, so everything that's happening now as the film travels the world feels like a gift.
"Labyrinth of Lies" is now playing in select cities via Sony Pictures Classics. International sales by Beta: Argentina - Cdi Films, Australia – Madman, Benelux - Lumière, Brazil - Mares Filmes, Canada, Métropole, Mongrel Media, France, Universcine, Sophie, Germany – Universal, Israel – Nachshon, Italy - Good Films, Japan – At Entertainment, Poland - Aurora Films, Portugal - Films4you, Spain – DEA Planeta, Switzerland – Universal, Taiwan - Swallow Wings, Turkey – Fabula, U.S. – Sony Pictures Classics...
- 10/8/2015
- by Carlos Aguilar
- Sydney's Buzz
Ahoy there folks! For the next installment of my still ongoing category/contender rundown, I’m moving on again from the big eight categories and taking a look now at one of the in betweens, or as I call them “mini-majors”, which happens this time to be the always intriguing Best Foreign Language Feature race. Obviously, this is a hard one to pin down early on, but frankly…I’m up for a challenge. Take a gander below and obviously keep in mind that this one will be more fluid than normal going forward… Here now are the five foreign films that I have currently cracking the unofficial lineup later on this year: 1. Son of Saul – Easily the frontrunner here, probably ever since its debut earlier this year at the Cannes Film Festival. The first film from László Nemes, it’s a Holocaust drama set inside the Auschwitz death camp,...
- 10/7/2015
- by Joey Magidson
- Hollywoodnews.com
Giulio Ricciarelli’s well-intentioned film about the first ever prosecution of death camp crimes by a German court is borderline inept
“You there, what happened at Auschwitz?” So barks a pedantic exposition machine masquerading as a character in Giulio Ricciarelli’s well-meaning but bordering-on-inept historical drama Labyrinth of Lies. The setting is a public prosecutor’s office in Frankfurt, 1958. A 20-year-old woman shrugs, and even those who recall Auschwitz as a prison camp swat away half-remembered accusations of mass murder. “The victors get to make up stories,” one shrugs. The wounded nation of West Germany is trying to rebuild, and their great ally (and financial backer) the United States is focusing all its energy on containing the Soviet Union. “Why go digging?”
Some argue that the world never fully dealt with the horror of the Holocaust until the 1960s. “They don’t like to talk about it” was something a...
“You there, what happened at Auschwitz?” So barks a pedantic exposition machine masquerading as a character in Giulio Ricciarelli’s well-meaning but bordering-on-inept historical drama Labyrinth of Lies. The setting is a public prosecutor’s office in Frankfurt, 1958. A 20-year-old woman shrugs, and even those who recall Auschwitz as a prison camp swat away half-remembered accusations of mass murder. “The victors get to make up stories,” one shrugs. The wounded nation of West Germany is trying to rebuild, and their great ally (and financial backer) the United States is focusing all its energy on containing the Soviet Union. “Why go digging?”
Some argue that the world never fully dealt with the horror of the Holocaust until the 1960s. “They don’t like to talk about it” was something a...
- 9/29/2015
- by Jordan Hoffman
- The Guardian - Film News
Oscar submission Labyrinth of Lies and comedy drama Summers Downstairs are among films on the shortlist for the Metropolis 2015 directing prize awarded by the German Directors’ Guild.
Giulio Ricciarelli’s Labyrinth of Lies played at Zurich Film Festival 2014 and is Germany’s submission for the Best Foreign Language Feature at the Academy Awards.
Tom Sommerlatte’s Summers Downstairs is nominated for the European Discovery - Prix Fipresci after winning a top prize at Oldenburg International Film Festival.
Both will compete in the New Directing Talent category against Gerd Schneider’s drama The Culpable.
The Best Fiction Feature Direction category will see Oliver Hirschbiegel (13 Minutes) compete against Sönke Wortmann (Frau Müller muss weg), Baran Bo Odar (Who Am I - No System Is Safe) and Markus Sehr (Die Kleinen und die Bösen).
Sebastian Dehnhardt’s basketball portrait Dirk Nowitzki - The Perfect Shot is one of three titles selected for the Best Documentary Direction category.
Other categories...
Giulio Ricciarelli’s Labyrinth of Lies played at Zurich Film Festival 2014 and is Germany’s submission for the Best Foreign Language Feature at the Academy Awards.
Tom Sommerlatte’s Summers Downstairs is nominated for the European Discovery - Prix Fipresci after winning a top prize at Oldenburg International Film Festival.
Both will compete in the New Directing Talent category against Gerd Schneider’s drama The Culpable.
The Best Fiction Feature Direction category will see Oliver Hirschbiegel (13 Minutes) compete against Sönke Wortmann (Frau Müller muss weg), Baran Bo Odar (Who Am I - No System Is Safe) and Markus Sehr (Die Kleinen und die Bösen).
Sebastian Dehnhardt’s basketball portrait Dirk Nowitzki - The Perfect Shot is one of three titles selected for the Best Documentary Direction category.
Other categories...
- 9/25/2015
- by screen.berlin@googlemail.com (Martin Blaney)
- ScreenDaily
Entries for the Best Foreign-Language Film at the 88th Academy Awards.
Submissions for the Best Foreign-Language Film at the 88th Academy Awards are coming in and will continue until October, when the full list of eligible submissions will be revealed.
Last year, a record 83 countries submitted features and the eventual winner was Polish feature Ida, directed by Pawel Pawlikowski.
This year’s nominations must be submitted by Oct 1.
Nine finalists will be shortlisted, which will be whittled down to five nominees that will be announced on Jan 14, 2016.
The 88th Academy Awards will take place at the Dolby Theatre in Hollywood on Feb 28, 2016.
Afghanistan: Utopia, Hassan Nazer
Albania: Bota, Iris Elezi, Thomas Logoreci
Austria: Goodnight Mommy, Severin Fiala, Veronika Franz
Bangladesh: Jalal’s Story, Abu Shahed Emon
Belgium: The Brand New Testament, Jaco Van Dormael
Bosnia & Herzegovina: Our Everyday Life, Ines Tanović
Brazil: The Second Mother, Anna Muylaert
Bulgaria: The Judgement, Stephan Komandarev
Cambodia:...
Submissions for the Best Foreign-Language Film at the 88th Academy Awards are coming in and will continue until October, when the full list of eligible submissions will be revealed.
Last year, a record 83 countries submitted features and the eventual winner was Polish feature Ida, directed by Pawel Pawlikowski.
This year’s nominations must be submitted by Oct 1.
Nine finalists will be shortlisted, which will be whittled down to five nominees that will be announced on Jan 14, 2016.
The 88th Academy Awards will take place at the Dolby Theatre in Hollywood on Feb 28, 2016.
Afghanistan: Utopia, Hassan Nazer
Albania: Bota, Iris Elezi, Thomas Logoreci
Austria: Goodnight Mommy, Severin Fiala, Veronika Franz
Bangladesh: Jalal’s Story, Abu Shahed Emon
Belgium: The Brand New Testament, Jaco Van Dormael
Bosnia & Herzegovina: Our Everyday Life, Ines Tanović
Brazil: The Second Mother, Anna Muylaert
Bulgaria: The Judgement, Stephan Komandarev
Cambodia:...
- 9/25/2015
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
Last week I went with my friend to a screening of Germany’s entry for the foreign-language film Oscar, Labyrinth of Lies, hosted by the United States Holocaust Memorial Museum and featuring a Q & A with director and co-writer Giulio Ricciarelli. The film and Q & A were excellent.
The film focuses on the Frankfurt Auschwitz trials, which took place in Germany almost twenty years after the end of World War II and the Holocaust, from 1963-65. These trials followed the Nuremberg trials held by the Allied forces in Germany, and the resulting “first Auschwitz trial” in Poland. The first Auschwitz trial tried forty former staff of the Auschwitz concentration camps who were witnesses in the Nuremberg trials. The Frankfurt Auschwitz trials charged over twenty defendants under German criminal law for their roles as mid- and low-level officials at the Auschwitz concentration camps.
Labyrinth of Lies examines Germany during the run-up...
The film focuses on the Frankfurt Auschwitz trials, which took place in Germany almost twenty years after the end of World War II and the Holocaust, from 1963-65. These trials followed the Nuremberg trials held by the Allied forces in Germany, and the resulting “first Auschwitz trial” in Poland. The first Auschwitz trial tried forty former staff of the Auschwitz concentration camps who were witnesses in the Nuremberg trials. The Frankfurt Auschwitz trials charged over twenty defendants under German criminal law for their roles as mid- and low-level officials at the Auschwitz concentration camps.
Labyrinth of Lies examines Germany during the run-up...
- 9/22/2015
- by Emily S. Whitten
- Comicmix.com
Labyrinth Of Lies director Giulio Ricciarelli with Anne-Katrin Titze Photo: Aimee Morris
I met up with the director of Germany's Oscar submission, Labyrinth Of Lies (Im Labyrinth Des Schweigens), Giulio Ricciarelli, at the Loews Regency Hotel on Park Avenue, where I previously engaged Jane Pollard and Iain Forsyth on working with Nick Cave, plus Juliano Ribeiro Salgado and Wim Wenders on The Salt Of The Earth earlier this year. Chet Baker's music was playing in the lobby, reminding me of Bruce Weber's Let's Get Lost, upon entering the labyrinth to discuss Ricciarelli's impressive debut feature. It stars Alexander Fehling of Inglourious Basterds fame, with Johannes Krisch (Finsterworld, Revanche), André Szymanski, Friederike Becht, Johann von Bülow and Mathis Reinhardt, and is dedicated to the late great stage actor, Gert Voss, who is spectacular as the unsung real-life hero State Attorney General Fritz Bauer.
Alexander Fehling as Johann Radmann
Claude Lanzmann...
I met up with the director of Germany's Oscar submission, Labyrinth Of Lies (Im Labyrinth Des Schweigens), Giulio Ricciarelli, at the Loews Regency Hotel on Park Avenue, where I previously engaged Jane Pollard and Iain Forsyth on working with Nick Cave, plus Juliano Ribeiro Salgado and Wim Wenders on The Salt Of The Earth earlier this year. Chet Baker's music was playing in the lobby, reminding me of Bruce Weber's Let's Get Lost, upon entering the labyrinth to discuss Ricciarelli's impressive debut feature. It stars Alexander Fehling of Inglourious Basterds fame, with Johannes Krisch (Finsterworld, Revanche), André Szymanski, Friederike Becht, Johann von Bülow and Mathis Reinhardt, and is dedicated to the late great stage actor, Gert Voss, who is spectacular as the unsung real-life hero State Attorney General Fritz Bauer.
Alexander Fehling as Johann Radmann
Claude Lanzmann...
- 9/20/2015
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Best Foreign Language Film Oscar 2016: 'Viva' with Héctor Medina. Multicultural Best Foreign Language Film Oscar 2016 submissions Nearly ten years ago, the Academy of Motion Picture Arts and Sciences changed a key rule regarding entries for the Best Foreign Language Film Oscar;* since then, things have gotten quite colorful. Just yesterday, Sept. 16, '15, Ireland submitted Paddy Breathnach's Viva – a Cuban-set drama spoken in Spanish. And why not? To name a couple more “multicultural and multinational” entries this year alone: China's submission, with dialogue in Mandarin and Mongolian, is Wolf Totem, directed by Jean-Jacques Annaud – a Frenchman. And Germany's entry, Labyrinth of Lies, was directed by Giulio Ricciarelli, who happens to be a German-based, Italian-born stage and TV actor. 'Viva': Sexual identity in 21st-century Cuba Executive produced by Best Supporting Actor Academy Award winner Benicio Del Toro (Traffic), Viva tells the story of an 18-year-old Havana drag-club worker,...
- 9/17/2015
- by Steve Montgomery
- Alt Film Guide
Labyrinth Of Lies (Im Labyrinth des Scheigens) Sony Pictures Classics Reviewed by: Harvey Karten for Shockya. Databased on Rotten Tomatoes. Grade: A- Director: Giulio Ricciarelli Written by: Elisabeth Bartel, Giulio Ricciarelli Cast: André Szymanski, Alexander Fehling, Gert Voss, Johannes Krisch, Friederike Becht, Hansi Jochmann, Johann von Bülow, Robert Hunger-Bühler Screened at: Sony, NYC, 9/2/15 Opens: September 30, 2015 Giulio Ricciarelli’s film “Labyrinth of Lies” brings to mind Arthur Miller’s equally melodramatic play, “All My Sons.” In that latter work, sixty-year-old Joe Keller is guilty of shipping damaged aircraft cylinder heads to U.S. pilots during World War II, causing the deaths of twenty-one pilots. Though Keller is exonerated, he ultimately commits [ Read More ]
The post Labyrinth of Lies Movie Review appeared first on Shockya.com.
The post Labyrinth of Lies Movie Review appeared first on Shockya.com.
- 9/9/2015
- by Harvey Karten
- ShockYa
Giulio Ricciarelli's directorial debut "Labyrinth of Lies," based on the true story of a young lawyer fighting to bring Nazi war crimes to trial after World War II, is Germany's official selection for the 2015 foreign Oscar, beating out seven other buzzy titles including "13 Minutes" and one-shot wonder "Victoria." Sony Pictures Classics releases the film--which screened at Tiff 2014 and boasts a riveting trailer, below-- stateside on September 30. As usual, Spc will have several candidates fighting for the five final foreign Oscar slots, among them Hungary's Cannes-winning holocaust drama "Son of Saul." Read More: Germany Picks 8 Titles to Vie for Oscar Submission In Germany, producers submit films for consideration as the German entry for Oscars. The official submission is chosen by an annually appointed selection committee of independent representatives from nine associations and institutions. German Films, the responsible umbrella...
- 8/27/2015
- by Anne Thompson
- Thompson on Hollywood
Giulio Ricciarelli’s Labyrinth of Lies has been chosen to represent Germany as its official submission for this year’s Academy Awards. The decision was reached by an independent jury appointed by German Films. Jury rep Dagmar Hirtz announced the decision in Munich today. “Director Giulio Ricciarelli and his team create in his precisely researched debut feature a drama which is both gripping and touching. Labyrinth of Lies thrills with a little-known chapter of German…...
- 8/27/2015
- Deadline
Giulio Ricciarelli’s Nazi conspiracy drama submitted to the Academy Awards for Best Foreign-Language Film.
Labyrinth Of Lies (Im Labyrinth Des Schweigens) has been selected to represent Germany as the official submission for the 88th Academy Awards for the Best Foreign-Language Film.
The drama marks the feature directorial debut of German actor Giulio Ricciarelli and tells the story of the conspiracy of prominent German institutions and government branches to cover up the crimes of Nazis during the Second World War.
Labyrinth Of Lies, which will be released in the Us by Sony Pictures Classics next month, was chosen from eight features by a nine-strong independent jury appointed by German Films.
Jury representative Dagmar Hirtz announced the decision in Munich today.
Ricciarell saidi: “I have had so many excellent experiences with this film abroad already. As in Germany, viewers are touched and moved, and often begin to think about their own history.
“Such an international...
Labyrinth Of Lies (Im Labyrinth Des Schweigens) has been selected to represent Germany as the official submission for the 88th Academy Awards for the Best Foreign-Language Film.
The drama marks the feature directorial debut of German actor Giulio Ricciarelli and tells the story of the conspiracy of prominent German institutions and government branches to cover up the crimes of Nazis during the Second World War.
Labyrinth Of Lies, which will be released in the Us by Sony Pictures Classics next month, was chosen from eight features by a nine-strong independent jury appointed by German Films.
Jury representative Dagmar Hirtz announced the decision in Munich today.
Ricciarell saidi: “I have had so many excellent experiences with this film abroad already. As in Germany, viewers are touched and moved, and often begin to think about their own history.
“Such an international...
- 8/27/2015
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
Too often-forgotten and yet a key historical period in post-WW2, that began in 1958 was the revelation of the German crimes for the first time to its own people.
“Labyrinth of Lies” is based upon true events and tells the tale of Johann Radmann (Alexander Fehling, “Inglourious Basterds”) a young, principled prosecutor who investigates a massive conspiracy to cover up the Nazi pasts of “very normal Germans” who had actively facilitated the Final Solution at Auschwitz, but remained unpunished, and ignored, long after the war ended. The five-year investigation led to the 1963-1965 Frankfurt Auschwitz trials. August 19, 2015 will mark the 50th anniversary of the verdict.
A hit in France and Germany, and a selection of the 2014 Toronto International Film Festival, Beta has sold the film widely:
Argentina-Cdi Films, Australia-Madman Entertai, Brazil -Mares Filmes Lt, Canada -Métropole Films, Canada-Mongrel Media, France-Universcine, France-Sophie Dulac Di, Germany-Universal Pictu, Israel-Nachshon Films, Italy-Good Films Srl, Japan-At Entertainmen, Poland-Aurora Films, Portugal-Films4you, Taiwan-Swallow Wings F, Turkey- Fabula Films
“Labyrinth of Lies” casts light on how, despite the infamy of the Nuremberg trials, much of post-war Germany denied its war crimes. Crisply photographed, and propelled by sterling performances from Fehling, Szymanski and Krisch, the film parallels personal drama with issues of a national scale, and raises still-relevant questions about war, and how history is ultimately written.
From the first frame, the film demands attention. At times, a bit hackneyed with some heavy-handed musical cues toward “emotional” moments, and at times a bit too long, however the subject matter and the attractive stars are very engrossing. One wants to see how the action will unfold and is willing to forgive the overly melodramatic moments. This is the German submission for the Academy Award out of eight which were considered.
Director Giulio Ricciarelli was born in Milan, and has acted in numerous German films and television programs. “Labyrinth of Lies” is his feature film directorial debut. German film and stage actor Alexander Fehling, best known to U.S. audiences for his role as Staff Sgt. Wilhelm in Quentin Tarantino’s “Inglorious Basterds”, was awarded The Shooting Star Award at the 2011 Berlin International Film Festival. He will next be seen in the new season of “Homeland” as Carrie (Claire Danes)’s new love interest, and has been cast as Friedrich Engels in Raoul Peck’s “The Young Karl Marx”.
Sony Pictures Classics will release “Labyrinth of Lies”, Giulio Ricciarelli’s feature film debut, Wednesday, September 30 in New York and Los Angeles.
Directed by Giulio Ricciarelli. Written by Elisabeth Bartel and Giulio Ricciarelli. Cinematography by Martin Langer, Roman Osin. Starring Alexander Fehling, André Szymanski, Friederike Becht, Johannes Krisch, Hansi Jochmann, Johann von Bulow, Robert Hunger-Buhler, Lukas Miko and Gert Voss.
121 Minutes. In German with English Subtitles.
“Labyrinth of Lies” is based upon true events and tells the tale of Johann Radmann (Alexander Fehling, “Inglourious Basterds”) a young, principled prosecutor who investigates a massive conspiracy to cover up the Nazi pasts of “very normal Germans” who had actively facilitated the Final Solution at Auschwitz, but remained unpunished, and ignored, long after the war ended. The five-year investigation led to the 1963-1965 Frankfurt Auschwitz trials. August 19, 2015 will mark the 50th anniversary of the verdict.
A hit in France and Germany, and a selection of the 2014 Toronto International Film Festival, Beta has sold the film widely:
Argentina-Cdi Films, Australia-Madman Entertai, Brazil -Mares Filmes Lt, Canada -Métropole Films, Canada-Mongrel Media, France-Universcine, France-Sophie Dulac Di, Germany-Universal Pictu, Israel-Nachshon Films, Italy-Good Films Srl, Japan-At Entertainmen, Poland-Aurora Films, Portugal-Films4you, Taiwan-Swallow Wings F, Turkey- Fabula Films
“Labyrinth of Lies” casts light on how, despite the infamy of the Nuremberg trials, much of post-war Germany denied its war crimes. Crisply photographed, and propelled by sterling performances from Fehling, Szymanski and Krisch, the film parallels personal drama with issues of a national scale, and raises still-relevant questions about war, and how history is ultimately written.
From the first frame, the film demands attention. At times, a bit hackneyed with some heavy-handed musical cues toward “emotional” moments, and at times a bit too long, however the subject matter and the attractive stars are very engrossing. One wants to see how the action will unfold and is willing to forgive the overly melodramatic moments. This is the German submission for the Academy Award out of eight which were considered.
Director Giulio Ricciarelli was born in Milan, and has acted in numerous German films and television programs. “Labyrinth of Lies” is his feature film directorial debut. German film and stage actor Alexander Fehling, best known to U.S. audiences for his role as Staff Sgt. Wilhelm in Quentin Tarantino’s “Inglorious Basterds”, was awarded The Shooting Star Award at the 2011 Berlin International Film Festival. He will next be seen in the new season of “Homeland” as Carrie (Claire Danes)’s new love interest, and has been cast as Friedrich Engels in Raoul Peck’s “The Young Karl Marx”.
Sony Pictures Classics will release “Labyrinth of Lies”, Giulio Ricciarelli’s feature film debut, Wednesday, September 30 in New York and Los Angeles.
Directed by Giulio Ricciarelli. Written by Elisabeth Bartel and Giulio Ricciarelli. Cinematography by Martin Langer, Roman Osin. Starring Alexander Fehling, André Szymanski, Friederike Becht, Johannes Krisch, Hansi Jochmann, Johann von Bulow, Robert Hunger-Buhler, Lukas Miko and Gert Voss.
121 Minutes. In German with English Subtitles.
- 8/27/2015
- by Sydney Levine
- Sydney's Buzz
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
The selection screenings for the independent expert jury who will be making a decision on the German entry for the 88th Oscar® competition in the category for Best Foreign Language Film will begin in Munich on 25 August 2015 . The film then being sent into the race for Germany will be announced on the morning of Thursday, 27 August 2015 .
The following eight titles were submitted by German producers:
"13 Minutes" by Oliver Hirschbiegel
(Lucky Bird Pictures, Delphi Medien, Philipp filmproduction)
"Sanctuary" by Marc Brummund (Zum Goldenen Lamm Filmproduktion)
"Head Full of Honey" by Til Schweiger
(Barefoot Films, Warner Bros. Entertainment, Seven Pictures Film)
"Labyrinth of Lies" by Giulio Ricciarelli
(Claussen + Putz Filmproduktion, naked eye filmproduction)
"Jack" by Edward Berger
(Port-au-Prince Film & Kultur Produktion, cine plus Filmproduktion, Neue Bioskop Film, Mixtvision Mediengesellschaft, zero west filmproduktion)
"Schmidts Katze" by Marc Schlegel
(Ffl Film- und Fernsehlabor Ludwigsburg)
"Victoria" by Sebastian Schipper
(MonkeyBoy, deutschfilm, RadicalMedia) – submission accepted with reservations. Until the final decision by the Academy of Motion Picture Arts and Sciences regarding the proportion of English in the film.
"We Are Young. We Are Strong." by Burhan Qurbani
(Ufa Fiction, cine plus Filmproduktion, Ufa Cinema)
The decision on the German entry for the Oscar® in the category of Best Foreign Language Film is taken by a selection committee which is appointed anew each year and consists of nine representatives from various associations and institutions active in the field of cinema.
German Films is entrusted as the responsible umbrella organization with the preparation and organization of the selection procedure for the German candidate who will then compete for the Oscar® in the category of Best Foreign Language Film.However, German Films, is not represented in the selection committee.
The following eight titles were submitted by German producers:
"13 Minutes" by Oliver Hirschbiegel
(Lucky Bird Pictures, Delphi Medien, Philipp filmproduction)
"Sanctuary" by Marc Brummund (Zum Goldenen Lamm Filmproduktion)
"Head Full of Honey" by Til Schweiger
(Barefoot Films, Warner Bros. Entertainment, Seven Pictures Film)
"Labyrinth of Lies" by Giulio Ricciarelli
(Claussen + Putz Filmproduktion, naked eye filmproduction)
"Jack" by Edward Berger
(Port-au-Prince Film & Kultur Produktion, cine plus Filmproduktion, Neue Bioskop Film, Mixtvision Mediengesellschaft, zero west filmproduktion)
"Schmidts Katze" by Marc Schlegel
(Ffl Film- und Fernsehlabor Ludwigsburg)
"Victoria" by Sebastian Schipper
(MonkeyBoy, deutschfilm, RadicalMedia) – submission accepted with reservations. Until the final decision by the Academy of Motion Picture Arts and Sciences regarding the proportion of English in the film.
"We Are Young. We Are Strong." by Burhan Qurbani
(Ufa Fiction, cine plus Filmproduktion, Ufa Cinema)
The decision on the German entry for the Oscar® in the category of Best Foreign Language Film is taken by a selection committee which is appointed anew each year and consists of nine representatives from various associations and institutions active in the field of cinema.
German Films is entrusted as the responsible umbrella organization with the preparation and organization of the selection procedure for the German candidate who will then compete for the Oscar® in the category of Best Foreign Language Film.However, German Films, is not represented in the selection committee.
- 8/23/2015
- by Sydney Levine
- Sydney's Buzz
Sony Pictures Classics has released the brand new poster for the upcoming drama Labyrinth Of Lies.
Directed by Giulio Ricciarelli, Labyrinth Of Lies opens in NY & La September 25th, followed by a national roll-out in more theaters. On writing the dialogue, Ricciarelli says, “We don’t want to give viewers a history lesson, but an emotional cinematic experience.”
Germany 1958. Reconstruction, economic miracle. Johann Radmann (Alexander Fehling) has just recently been appointed Public Prosecutor and, like all beginners, he has to content himself with boring traffic offenses. When the journalist Thomas Gnielka (André Szymanski) causes a ruckus in the courthouse, Radmann pricks up his ears: a friend of Gnielka’s identified a teacher as a former Auschwitz guard, but no one is interested in prosecuting him.
Against the will of his immediate superior, Radmann begins to examine the case – and lands in a web of repression and denial, but also of idealization.
Directed by Giulio Ricciarelli, Labyrinth Of Lies opens in NY & La September 25th, followed by a national roll-out in more theaters. On writing the dialogue, Ricciarelli says, “We don’t want to give viewers a history lesson, but an emotional cinematic experience.”
Germany 1958. Reconstruction, economic miracle. Johann Radmann (Alexander Fehling) has just recently been appointed Public Prosecutor and, like all beginners, he has to content himself with boring traffic offenses. When the journalist Thomas Gnielka (André Szymanski) causes a ruckus in the courthouse, Radmann pricks up his ears: a friend of Gnielka’s identified a teacher as a former Auschwitz guard, but no one is interested in prosecuting him.
Against the will of his immediate superior, Radmann begins to examine the case – and lands in a web of repression and denial, but also of idealization.
- 8/17/2015
- by Michelle McCue
- WeAreMovieGeeks.com
Sebastian Schipper’s Victoria awaiting a decision over the proportion of English in the film.
Eight films have been submitted for selection as Germany’s entry to the Best Foreign Language Film category at the 88th Academy Awards.
Selection screenings for the independent jury who will make the decision will begin in Munich on Aug 25 and the film chosen to represent Germany will be announced on Aug 27.
The entries include Sebastian Schipper’s Victoria, a film shot in a single take about a party girl who finds herself pulled into a bank robbery, which won three prizes at this year’s Berlinale and a further six at the German Film Awards.
However, the submission of Victoria has been “accepted with reservations” and awaits the final decision by the Academy of Motion Picture Arts and Sciences regarding the proportion of English in the film.
Victoria is played by Spanish actress Laia Costa, who speaks...
Eight films have been submitted for selection as Germany’s entry to the Best Foreign Language Film category at the 88th Academy Awards.
Selection screenings for the independent jury who will make the decision will begin in Munich on Aug 25 and the film chosen to represent Germany will be announced on Aug 27.
The entries include Sebastian Schipper’s Victoria, a film shot in a single take about a party girl who finds herself pulled into a bank robbery, which won three prizes at this year’s Berlinale and a further six at the German Film Awards.
However, the submission of Victoria has been “accepted with reservations” and awaits the final decision by the Academy of Motion Picture Arts and Sciences regarding the proportion of English in the film.
Victoria is played by Spanish actress Laia Costa, who speaks...
- 8/13/2015
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
Lars Kraume’s Nazi-hunting drama has been sold in France and Switzerland; further deals are in “final negotiations”.
German world sales agent Beta Cinema have picked up international sales rights to The People vs. Fritz Bauer.
The film, which receives its premiere at Locarno Film Festival (Aug 5-15) next week, is set in 1957 Germany and tells the story of attorney general Fritz Bauer as he finds crucial evidence on the whereabouts of an SS officer responsible for the mass deportation of Jews during the holocaust.
Distribution deals have been struck with France’s Arp Selection, Swiss outfit LookNow! Filmdistribution, and more deals are in “final negotiations” according to Beta.
German distribution company Alamode will handle the national release of the film, set for October 1.
Beta Cinema previously handled Giulio Ricciarelli’s Labyrinth of Lies, which premiered at Toronto last year and will receive a Us release in September.
German world sales agent Beta Cinema have picked up international sales rights to The People vs. Fritz Bauer.
The film, which receives its premiere at Locarno Film Festival (Aug 5-15) next week, is set in 1957 Germany and tells the story of attorney general Fritz Bauer as he finds crucial evidence on the whereabouts of an SS officer responsible for the mass deportation of Jews during the holocaust.
Distribution deals have been struck with France’s Arp Selection, Swiss outfit LookNow! Filmdistribution, and more deals are in “final negotiations” according to Beta.
German distribution company Alamode will handle the national release of the film, set for October 1.
Beta Cinema previously handled Giulio Ricciarelli’s Labyrinth of Lies, which premiered at Toronto last year and will receive a Us release in September.
- 7/29/2015
- ScreenDaily
Beta Cinema’s International Market Premiere "Ghosthunters on Icy Trails" and Sundance Audience Award-winning "Umrika" lead the company’s sales at the Marché du Film in Cannes. Among the early buyers for the family entertainment feature "Ghosthunters on Icy Trails" were Eone (USA/Canada), Altitude Distribution (UK), Transmission (Australia/New Zealand), Notorious (Italy), Gulf Film (Middle East), New Guys (Israel), Medyavizyon (Turkey), Pratama Films (Malaysia/Indonesia/Singapore) and Blitz (former Yugoslavia).
Starring Suraj Sharma (“Life of Pi”) and Tony Revolori (“Dope”, “The Grand Budapest Hotel”), Prashant Nair’s Indian feature "Umrika" was sold to France (Arp Selection), German Speaking Territories (Ascot Elite), Australia/New Zealand (Vendetta Films), South Korea (Focus Entertainment), Poland (Aurora Films), Portugal (Outsider Films), Taiwan (Swallow Wings), Former Yugoslavia (Discovery Film) and Israel (New Cinema).
Oliver Hirschbiegel’s Berlinale official selection entry "13 Minutes," nominated for seven German Film Awards, goes to Portugal (Outsider Films), Turkey (Fabula Films), Former Yugoslavia (Blitz), Taiwan (Swallow Wings), Singapore (Lighthouse Pictures) and Hong Kong (First Distributors).
Berlinale competition entry and Romanian # 1-box-office hit "Aferim!" by Radu Jude was acquired by France (Eurozoom), Poland (Aurora Films), Hungary (Mozinet), Taiwan (Swallow Wings) and Former Yugoslavia (Discovery Film).
Giulio Ricciarelli’s "Labyrinth of Lies," which was released in France at the end of April and made more than 150.000 visitors within its first two weeks, was picked up by Aurora for Poland, Blitz for Former Yugoslavia and DDDream for China. In the family entertainment section, the Enid Blyton adaptation "The Famous Five 4" goes to Benelux (Just Films), "Bibi & Tina II" to Benelux (just4kids) and Turkey (Medyavizyon) and the animated feature "The Little Medic" to Turkey (Özen Film).
Starring Suraj Sharma (“Life of Pi”) and Tony Revolori (“Dope”, “The Grand Budapest Hotel”), Prashant Nair’s Indian feature "Umrika" was sold to France (Arp Selection), German Speaking Territories (Ascot Elite), Australia/New Zealand (Vendetta Films), South Korea (Focus Entertainment), Poland (Aurora Films), Portugal (Outsider Films), Taiwan (Swallow Wings), Former Yugoslavia (Discovery Film) and Israel (New Cinema).
Oliver Hirschbiegel’s Berlinale official selection entry "13 Minutes," nominated for seven German Film Awards, goes to Portugal (Outsider Films), Turkey (Fabula Films), Former Yugoslavia (Blitz), Taiwan (Swallow Wings), Singapore (Lighthouse Pictures) and Hong Kong (First Distributors).
Berlinale competition entry and Romanian # 1-box-office hit "Aferim!" by Radu Jude was acquired by France (Eurozoom), Poland (Aurora Films), Hungary (Mozinet), Taiwan (Swallow Wings) and Former Yugoslavia (Discovery Film).
Giulio Ricciarelli’s "Labyrinth of Lies," which was released in France at the end of April and made more than 150.000 visitors within its first two weeks, was picked up by Aurora for Poland, Blitz for Former Yugoslavia and DDDream for China. In the family entertainment section, the Enid Blyton adaptation "The Famous Five 4" goes to Benelux (Just Films), "Bibi & Tina II" to Benelux (just4kids) and Turkey (Medyavizyon) and the animated feature "The Little Medic" to Turkey (Özen Film).
- 5/17/2015
- by Sydney Levine
- Sydney's Buzz
Beta Cinema’s Cannes market titles Ghosthunters On Icy Trails and Sundance Audience Award winner Umrika have been selling briskly.
Ghosthunters has gone to Eone (USA/Canada), Altitude Distribution (UK), Transmission (Australia/New Zealand), Notorious (Italy), Gulf Film (Middle East), New Guys (Israel), Medyavizyon (Turkey), Pratama Films (Malaysia/Indonesia/Singapore) and Blitz (former Yugoslavia).
Meanwhile, Umrika has gone to France (Arp Selection), German Speaking Territories (Ascot Elite), Australia/New Zealand (Vendetta Films), South Korea (Focus Entertainment), Poland (Aurora Films), Portugal (Outsider Films), Taiwan (Swallow Wings), Former Yugoslavia (Discovery Film) and Israel (New Cinema).
Oliver Hirschbiegel’s Berlinale selection 13 Minutes, nominated for seven German Film Awards, has now gone to Portugal (Outsider Films), Turkey (Fabula Films), Former Yugoslavia (Blitz), Taiwan (Swallow Wings), Singapore (Lighthouse Pictures) and Hong Kong (First Distributors).
Berlinale competition entry and Romanian box-office hit Aferim! by Radu Jude was acquired by France (Eurozoom), Poland (Aurora Films), Hungary (Mozinet), Taiwan (Swallow Wings) and Former Yugoslavia (Discovery...
Ghosthunters has gone to Eone (USA/Canada), Altitude Distribution (UK), Transmission (Australia/New Zealand), Notorious (Italy), Gulf Film (Middle East), New Guys (Israel), Medyavizyon (Turkey), Pratama Films (Malaysia/Indonesia/Singapore) and Blitz (former Yugoslavia).
Meanwhile, Umrika has gone to France (Arp Selection), German Speaking Territories (Ascot Elite), Australia/New Zealand (Vendetta Films), South Korea (Focus Entertainment), Poland (Aurora Films), Portugal (Outsider Films), Taiwan (Swallow Wings), Former Yugoslavia (Discovery Film) and Israel (New Cinema).
Oliver Hirschbiegel’s Berlinale selection 13 Minutes, nominated for seven German Film Awards, has now gone to Portugal (Outsider Films), Turkey (Fabula Films), Former Yugoslavia (Blitz), Taiwan (Swallow Wings), Singapore (Lighthouse Pictures) and Hong Kong (First Distributors).
Berlinale competition entry and Romanian box-office hit Aferim! by Radu Jude was acquired by France (Eurozoom), Poland (Aurora Films), Hungary (Mozinet), Taiwan (Swallow Wings) and Former Yugoslavia (Discovery...
- 5/15/2015
- by geoffrey@macnab.demon.co.uk (Geoffrey Macnab)
- ScreenDaily
Other winners include Labyrinth of Lies, These Are The Rules, Underdog, Hyena, Frank.
Les Arcs European Film Festival wrapped yesterday with its top award, The Cristal Arrow, going to Yury Kykov’s The Fool from Russia. The film also won the cinematography prize for Kirill Klepalov and it won the young jury prize.
The jury award went to Ognjen Svilicic’s These Are The Rules from Croatia.
German film Labyrinth of Lies won both the audience award and a special jury mention.
The full list of winners from Les Arcs 2014:
Cristal Arrow Award: The Fool by Yury Bykov (Russia)
Jury Award: These are the rules by Ognjen Svilicic (Croatia)
Special Jury Mention: Labyrinth of Lies by Giulio Ricciarelli (Germany)
Best Actress Award: Bianca Kronlöf in Underdog (Sweden)
Best Actor Award: Peter Ferdinando in Hyena (UK)
Best Music Award: Stephen Rennicks for Frank (Ireland)
Best Photography Award: Kirill Klepalov for The Fool (Russia)
Audience Choice Prize: Labyrinth...
Les Arcs European Film Festival wrapped yesterday with its top award, The Cristal Arrow, going to Yury Kykov’s The Fool from Russia. The film also won the cinematography prize for Kirill Klepalov and it won the young jury prize.
The jury award went to Ognjen Svilicic’s These Are The Rules from Croatia.
German film Labyrinth of Lies won both the audience award and a special jury mention.
The full list of winners from Les Arcs 2014:
Cristal Arrow Award: The Fool by Yury Bykov (Russia)
Jury Award: These are the rules by Ognjen Svilicic (Croatia)
Special Jury Mention: Labyrinth of Lies by Giulio Ricciarelli (Germany)
Best Actress Award: Bianca Kronlöf in Underdog (Sweden)
Best Actor Award: Peter Ferdinando in Hyena (UK)
Best Music Award: Stephen Rennicks for Frank (Ireland)
Best Photography Award: Kirill Klepalov for The Fool (Russia)
Audience Choice Prize: Labyrinth...
- 12/21/2014
- by wendy.mitchell@screendaily.com (Wendy Mitchell)
- ScreenDaily
Ruben Ostlund’s Force Majeure to screen atop 3,200m high Aiguille Rouge Mountain at Alpine festival.
Susanne Bier’s A Second Chance, Lenny Abrahamson’s Frank and Gerard Johnson’s Hyena are among the titles set to compete at the sixth edition of Les Arcs European Film Festival (Dec 13-20) in the heart of the French Alps.
Festival co-founders Pierre Emmanuel Fleurantin and Guillaume Calop said the event’s focus on Europe was more relevant than ever as its citizens posed questions about the future of the region amid the ongoing economic crisis.
“We continue to believe in a united Europe where together we can safeguard our cultures and ways of life without renouncing progress,” they said in a joint statement. “Across the new line-up, each country shows off the best of its cinema.”
The titles in the competition, selected by artistic director Frédéric Boyer, will compete for the festival’s top prize, the Crystal...
Susanne Bier’s A Second Chance, Lenny Abrahamson’s Frank and Gerard Johnson’s Hyena are among the titles set to compete at the sixth edition of Les Arcs European Film Festival (Dec 13-20) in the heart of the French Alps.
Festival co-founders Pierre Emmanuel Fleurantin and Guillaume Calop said the event’s focus on Europe was more relevant than ever as its citizens posed questions about the future of the region amid the ongoing economic crisis.
“We continue to believe in a united Europe where together we can safeguard our cultures and ways of life without renouncing progress,” they said in a joint statement. “Across the new line-up, each country shows off the best of its cinema.”
The titles in the competition, selected by artistic director Frédéric Boyer, will compete for the festival’s top prize, the Crystal...
- 11/6/2014
- ScreenDaily
A Martin Luther King biopic, a French drama about the world.s worst soprano and the follow-up to Joshua Oppenheimer.s documentary on the Indonesian genocide are heading to Australian cinemas next year.
These were among the titles pre-bought by distributors at the Toronto International Film Festival. From the Oz viewpoint it was a .solid, not spectacular market," according to Transmission Films co-founder Andrew Mackie, whose acquisition reps were in Toronto.
.As usual there was a lot more on offer for the Us market, with many key titles that were already spoken for here in Australia still open for the Us,. Mackie said.
In light of the contraction of the independent/specialty market in Australia and worldwide, Mackie said he is taking a cautious approach to the smaller art house titles that are struggling to find a foothold theatrically and don't have much ancillary value.
Transmission pre-bought Xavier Giannoli's Marguerite,...
These were among the titles pre-bought by distributors at the Toronto International Film Festival. From the Oz viewpoint it was a .solid, not spectacular market," according to Transmission Films co-founder Andrew Mackie, whose acquisition reps were in Toronto.
.As usual there was a lot more on offer for the Us market, with many key titles that were already spoken for here in Australia still open for the Us,. Mackie said.
In light of the contraction of the independent/specialty market in Australia and worldwide, Mackie said he is taking a cautious approach to the smaller art house titles that are struggling to find a foothold theatrically and don't have much ancillary value.
Transmission pre-bought Xavier Giannoli's Marguerite,...
- 9/24/2014
- by Inside Film Correspondent
- IF.com.au
Beta Cinema secures worldwide deals for Labyrinth of Lies, The Farewell Party and Tour de Force.
Munich-based Beta Cinema has closed a raft of international sales on three titles that played at the Toronto International Film Festival (Sept 4-14).
Following the sale of North American rights to Sony Pictures Classics, Giulio Ricciarelli’s post-war drama Labyrinth of Lies, in which a young attorney sets out to prosecute a man suspected of being a former guard at Auschwitz, went to France (Sophie Dulac Distribution), Italy (Good Films), Portugal (Films4You), Israel (Nachshon Films), Australia (Madman), Taiwan (Swallow Wings) and Brasil (Mares Filmes).
Deals with distributors from UK, Australia, Japan, Spain, Benelux, Scandinavia and Eastern European territories are in final negotiations, according to Beta.
Tal Granit and Sharon Maymon’s dark comedy The Farewell Party, which centres on euthanasia, has been acquired for Benelux (Cineart), Spain (Caramel), Portugal (Films4You), Australia/New Zealand (Jiff Distribution), Japan (Asmik Ace), Korea...
Munich-based Beta Cinema has closed a raft of international sales on three titles that played at the Toronto International Film Festival (Sept 4-14).
Following the sale of North American rights to Sony Pictures Classics, Giulio Ricciarelli’s post-war drama Labyrinth of Lies, in which a young attorney sets out to prosecute a man suspected of being a former guard at Auschwitz, went to France (Sophie Dulac Distribution), Italy (Good Films), Portugal (Films4You), Israel (Nachshon Films), Australia (Madman), Taiwan (Swallow Wings) and Brasil (Mares Filmes).
Deals with distributors from UK, Australia, Japan, Spain, Benelux, Scandinavia and Eastern European territories are in final negotiations, according to Beta.
Tal Granit and Sharon Maymon’s dark comedy The Farewell Party, which centres on euthanasia, has been acquired for Benelux (Cineart), Spain (Caramel), Portugal (Films4You), Australia/New Zealand (Jiff Distribution), Japan (Asmik Ace), Korea...
- 9/15/2014
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
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