With five feature films under his belt, this past summer Maxime Giroux moved into the saddle of his English language debut (2014’s Félix et Meira works in multiple spoken dialogues) with In Cold Light. Lassoing the likes of Maika Monroe, Troy Kotsur and Helen Hunt, this crime thriller could easily wait until the autumn film festival circuit, but if they move quickly then this would be a return to Park City for Giroux who last premiered his 2005 short “Le Rouge au Sol”. Sara Mishara is the cinematographer here.
Gist: Ava (Monroe) is trapped. Like a bull in a bucking chute, seconds before exploding onto the rodeo stage.…...
Gist: Ava (Monroe) is trapped. Like a bull in a bucking chute, seconds before exploding onto the rodeo stage.…...
- 11/13/2023
- by Eric Lavallée
- IONCINEMA.com
Pakistani Canadian filmmaker Anam Abbas has won the Canadian Media Producers Assn.’s 2023 Kevin Tierney Emerging Producer Award, it was announced Sept. 7 at the Indiescreen Awards, the opening event of the Toronto International Film Festival’s industry conference at Glenn Gould Studios.
Abbas’ latest feature is writer and director Zarrar Kahn’s feature debut “In Flames,” a Pakistani Canadian horror-drama about a Karachi woman and her mother who are beset by malevolent figures from their past after the family patriarch dies. The film, which screens next week in Toronto, premiered in Director’s Fortnight at Cannes, where XYZ Films’ announced the title would launch its New Visions slate.
The award, which comes with a C$10,000 cash prize, recognizes the talents of emerging feature producers. Abbas was recognized by the jury for her ingenuity and her passion for creating films that feel real and essential.
Nancy Grant of Metafilms received the...
Abbas’ latest feature is writer and director Zarrar Kahn’s feature debut “In Flames,” a Pakistani Canadian horror-drama about a Karachi woman and her mother who are beset by malevolent figures from their past after the family patriarch dies. The film, which screens next week in Toronto, premiered in Director’s Fortnight at Cannes, where XYZ Films’ announced the title would launch its New Visions slate.
The award, which comes with a C$10,000 cash prize, recognizes the talents of emerging feature producers. Abbas was recognized by the jury for her ingenuity and her passion for creating films that feel real and essential.
Nancy Grant of Metafilms received the...
- 9/7/2023
- by Jennie Punter
- Variety Film + TV
Genre regular Maika Monroe – whose credits include The Guest, It Follows, Tau, Villains, The Stranger, Watcher, and the upcoming Nicolas Cage horror film Longlegs – and Troy Kotsur, who won an Oscar for his performance in the Best Picture winner Coda – have signed on to star in the thriller In Cold Light, which Deadline notes will mark the English-language debut of French-Canadian director Maxime Giroux (Felix and Meira). This will also be Kotsur’s first movie since he worked on Coda.
Scripted by by Patrick Whistler, In Cold Light has the following synopsis: Ava (Monroe) is trapped. Like a bull in a bucking chute, seconds before exploding onto the rodeo stage. She is hunted. Pursued by those who killed her brother, pursued by her own demons. Ava needs to make a choice. To either save herself and fight another day or to push and become the woman she wishes she could be.
Scripted by by Patrick Whistler, In Cold Light has the following synopsis: Ava (Monroe) is trapped. Like a bull in a bucking chute, seconds before exploding onto the rodeo stage. She is hunted. Pursued by those who killed her brother, pursued by her own demons. Ava needs to make a choice. To either save herself and fight another day or to push and become the woman she wishes she could be.
- 5/18/2023
- by Cody Hamman
- JoBlo.com
From French-Canadian director Maxime Giroux (Felix And Meira), Maika Monroe (It Follows) and Troy Kotsur (Coda) star in the film In Cold Light, headed to the Cannes market.
Deadline first reported the news this morning. The site also notes, “XYZ Films is handling world rights and is introducing the film to buyers at this week’s Cannes market.”
In Cold Light is being described as a “gritty crime thriller.”
In the film, “Ava (Maika Monroe) is trapped. Like a bull in a bucking chute, seconds before exploding onto the rodeo stage. She is hunted. Pursued by those who killed her brother, pursued by her own demons. Ava needs to make a choice. To either save herself and fight another day or to push and become the woman she wishes she could be.”
The film was written by Patrick Whistler, produced by Mike MacMillan (Mobile Homes) and Yanick Letourneau (Night Of The Kings...
Deadline first reported the news this morning. The site also notes, “XYZ Films is handling world rights and is introducing the film to buyers at this week’s Cannes market.”
In Cold Light is being described as a “gritty crime thriller.”
In the film, “Ava (Maika Monroe) is trapped. Like a bull in a bucking chute, seconds before exploding onto the rodeo stage. She is hunted. Pursued by those who killed her brother, pursued by her own demons. Ava needs to make a choice. To either save herself and fight another day or to push and become the woman she wishes she could be.”
The film was written by Patrick Whistler, produced by Mike MacMillan (Mobile Homes) and Yanick Letourneau (Night Of The Kings...
- 5/17/2023
- by John Squires
- bloody-disgusting.com
Exclusive: Maika Monroe (It Follows) and Troy Kotsur (Coda) have been cast as leads in crime thriller In Cold Light, which will mark the English-language debut of French-Canadian director Maxime Giroux (Felix And Meira).
The project, due to shoot later this year, is Kotsur’s first movie since he memorably won the best supporting actor Oscar for Coda.
XYZ Films is handling world rights and is introducing the film to buyers at this week’s Cannes Market.
The official synopsis reads: “Ava (Monroe) is trapped. Like a bull in a bucking chute, seconds before exploding onto the rodeo stage. She is hunted. Pursued by those who killed her brother, pursued by her own demons. Ava needs to make a choice. To either save herself and fight another day or to push and become the woman she wishes she could be.”
Pic was written by Patrick Whistler, and is produced by...
The project, due to shoot later this year, is Kotsur’s first movie since he memorably won the best supporting actor Oscar for Coda.
XYZ Films is handling world rights and is introducing the film to buyers at this week’s Cannes Market.
The official synopsis reads: “Ava (Monroe) is trapped. Like a bull in a bucking chute, seconds before exploding onto the rodeo stage. She is hunted. Pursued by those who killed her brother, pursued by her own demons. Ava needs to make a choice. To either save herself and fight another day or to push and become the woman she wishes she could be.”
Pic was written by Patrick Whistler, and is produced by...
- 5/17/2023
- by Andreas Wiseman
- Deadline Film + TV
François Arnaud (Surface, Midnight Texas), Joshua Close (Monica, Fargo) and Troian Bellisario (Pretty Little Liars) will be joining the CBC original drama series Plan B, set for a winter 2023 debut.
The series stars Patrick J. Adams as Philip and Karine Vanasse as Evelyn.
Adams is best known for playing college dropout turned lawyer Mike Ross in USA Network’s Suits between 2011 and 2019, a role that garnered him a Screen Actors Guild nomination. He recently made his Broadway debut in Richard Greenberg’s Tony-nominated revival of Take Me Out and starred as original Mercury 7 astronaut John Glenn in National Geographic’s first scripted series for Disney+, The Right Stuff.
Vanasse is an award-winning actress who starred as Detective Lise Delorme in CTV’s drama Cardinal between 2017 and 2020, for which she won a Canadian Screen Award for Best Lead Actress in a Drama Series in 2019 and...
The series stars Patrick J. Adams as Philip and Karine Vanasse as Evelyn.
Adams is best known for playing college dropout turned lawyer Mike Ross in USA Network’s Suits between 2011 and 2019, a role that garnered him a Screen Actors Guild nomination. He recently made his Broadway debut in Richard Greenberg’s Tony-nominated revival of Take Me Out and starred as original Mercury 7 astronaut John Glenn in National Geographic’s first scripted series for Disney+, The Right Stuff.
Vanasse is an award-winning actress who starred as Detective Lise Delorme in CTV’s drama Cardinal between 2017 and 2020, for which she won a Canadian Screen Award for Best Lead Actress in a Drama Series in 2019 and...
- 8/4/2022
- by Bruce Haring
- Deadline Film + TV
The TIFF Platform comp title, official selection for Canada for Best International Feature Film category and sophomore feature by Ivan Grbovic was crowned Best Film at the Gala Québec Cinéma ceremony last night. Drunken Birds (aka Les oiseaux ivres) picked up a total of ten Iris awards including top categories Best Director, Best Screenplay (co-written with cinematographer Sara Mishara) , Best Actress (Hélène Florent), Best Supporting Actor (Claude Legault) and Best Cinematographer also went to Mishara who would end up competing against herself with Maxime Giroux’s Norbourg also getting a nom in that category.
Florent was the first actress in the event’s history to double down and win two awards – she also nabbed Best Supporting Actress for her part in Sébastien Pilote’s Maria Chapdelaine — that film also won Best Newcomer award for Sara Montpetit who was recently featured in Cannes in Falcon Lake — a film that will surely...
Florent was the first actress in the event’s history to double down and win two awards – she also nabbed Best Supporting Actress for her part in Sébastien Pilote’s Maria Chapdelaine — that film also won Best Newcomer award for Sara Montpetit who was recently featured in Cannes in Falcon Lake — a film that will surely...
- 6/6/2022
- by Eric Lavallée
- IONCINEMA.com
My Salinger Year
Quebec’s Philippe Falardeau will unleash his highest profile project to date next year with My Salinger Year, an adaptation of Joanna Rakoff’s 2014 memoir. Sigourney Weaver and Margaret Qualley headline, while Douglas Booth, Colm Feore and Théodore Pellerin are among the supporting cast members. Lensed by Sara Mishara (of Maxime Giroux’s Felix & Meira and The Great Darkened Days), the project was produced by micro_scope’s Luc Dery and Kim McCraw with Ruth Coady and Susan Mullen. Falardeau’s breakout was 2011’s Monsieur Lazhar, which premiered in Locarno and went on to nab an Oscar nomination for Best Foreign Language Film.…...
Quebec’s Philippe Falardeau will unleash his highest profile project to date next year with My Salinger Year, an adaptation of Joanna Rakoff’s 2014 memoir. Sigourney Weaver and Margaret Qualley headline, while Douglas Booth, Colm Feore and Théodore Pellerin are among the supporting cast members. Lensed by Sara Mishara (of Maxime Giroux’s Felix & Meira and The Great Darkened Days), the project was produced by micro_scope’s Luc Dery and Kim McCraw with Ruth Coady and Susan Mullen. Falardeau’s breakout was 2011’s Monsieur Lazhar, which premiered in Locarno and went on to nab an Oscar nomination for Best Foreign Language Film.…...
- 1/3/2020
- by Nicholas Bell
- IONCINEMA.com
Ricardo Trogi’s 1991 was the top prize winner at 2019 Gala Quebec Cinema Awards. Winning Best Film, Best Director and Best Supporting Actress (Sandrine Bisson), the film edged out Une colonie picked up a pair of awards in Best Supporting Actor (Robin Aubert) and Best Newcomer (Émilie Bierre) and Yan Giroux who won Best First Feature, Best Actor and Best Screenplay for À tous ceux qui ne me lisent pas. Here are the noms and winners:
Best Film
1991 – Go Films – Nicole Robert – Winner
À tous ceux qui ne me lisent pas – micro_scope – Luc Déry, Élaine Hébert, Kim McCraw
La Bolduc – Caramel Films – Valérie d’Auteuil, André Rouleau
Genèse – L’Unité centrale – Galilé Marion-Gauvin
La grande noirceur – Metafilms – Sylvain Corbeil
Répertoire des villes disparues – Couzin Films – Ziad Touma
Une colonie – Colonelle films – Fanny Drew, Sarah Mannering
Best Director
Denis Côté – Répertoire des villes disparues
Geneviève Dulude-De Celles – Une colonie
Maxime Giroux...
Best Film
1991 – Go Films – Nicole Robert – Winner
À tous ceux qui ne me lisent pas – micro_scope – Luc Déry, Élaine Hébert, Kim McCraw
La Bolduc – Caramel Films – Valérie d’Auteuil, André Rouleau
Genèse – L’Unité centrale – Galilé Marion-Gauvin
La grande noirceur – Metafilms – Sylvain Corbeil
Répertoire des villes disparues – Couzin Films – Ziad Touma
Une colonie – Colonelle films – Fanny Drew, Sarah Mannering
Best Director
Denis Côté – Répertoire des villes disparues
Geneviève Dulude-De Celles – Une colonie
Maxime Giroux...
- 6/3/2019
- by Eric Lavallée
- IONCINEMA.com
From working with a text about a path that is crossed with improbable odds in Felix et Meira, to the alienating, but nonetheless road most traveled in The Great Darkened Days, with his fourth feature, Maxime Giroux moves into an allegorical space delving into the direct cause (and possible the cycle of the collapse) that is capitalism. Featuring a cast of shadowy, subversive characters who derail Philippe’s plans (once again working with Martin Dubreuil), the geographically potent nightmarish world presented here is spatially more encompassing and yet as I discovered in my interview with the filmmaker, very much a sign of our current times — Charlie Chaplin included.…...
- 12/19/2018
- by Eric Lavallée
- IONCINEMA.com
Eleven World Premieres plus $146,500 in cash and prizes to be awarded.
‘Mary Queen of Scots’ and ‘Momentum Generation’ to bookend festival.
Canadian Premieres include ‘On the Basis of Sex’, ‘Stockholm’, and ‘Untogether’. Western Canadian Premieres include ‘If Beale Street Could Talk’, ‘Roma’ and ‘At Eternity’s Gate’
The 18th annual Whistler Film Festival (Wff), November 28 to December 2, selected its opening night film and full program lineup from over 1,000 submissions. Festival goers can look forward to 85 fresh films including 50 features and 35 shorts representing 12 countries. Selections for this year’s festival include leading award season fare, quality Canadian content (69% of the lineup) and more female-directed films than ever before (46% of the lineup).
‘Canada’s coolest film fest’ remains true to its mandate of discovering new talent, with the inclusion of 16 first time feature films, 21 feature films directed by women, and with 64% of its program premiering Canadian features, more than any other international Canadian film festival this year.
‘Mary Queen of Scots’ and ‘Momentum Generation’ to bookend festival.
Canadian Premieres include ‘On the Basis of Sex’, ‘Stockholm’, and ‘Untogether’. Western Canadian Premieres include ‘If Beale Street Could Talk’, ‘Roma’ and ‘At Eternity’s Gate’
The 18th annual Whistler Film Festival (Wff), November 28 to December 2, selected its opening night film and full program lineup from over 1,000 submissions. Festival goers can look forward to 85 fresh films including 50 features and 35 shorts representing 12 countries. Selections for this year’s festival include leading award season fare, quality Canadian content (69% of the lineup) and more female-directed films than ever before (46% of the lineup).
‘Canada’s coolest film fest’ remains true to its mandate of discovering new talent, with the inclusion of 16 first time feature films, 21 feature films directed by women, and with 64% of its program premiering Canadian features, more than any other international Canadian film festival this year.
- 11/20/2018
- by Sydney Levine
- Sydney's Buzz
Total of 16 titles set for this year’s Competition line-up.
Tokyo International Film Festival has announced the 16 titles that will compete in its International Competition, including the world premieres of His Master’s Voice, from Hungary’s Gyorgy Palfi, Fruit Chan’s Three Husbands, Veit Helmer’s The Bra and Liu Hao’s The Poet.
Tiff’s competition line-up will also include the world premieres of two Japanese titles – Junji Sakamoto’s Another World and Rikiya Imaizumi’s Just Only Love (see full line-up below).
Leading Philippines filmmaker Brillante Ma Mendoza is heading this year’s Competition jury, which also comprises Us producer Bryan Burk,...
Tokyo International Film Festival has announced the 16 titles that will compete in its International Competition, including the world premieres of His Master’s Voice, from Hungary’s Gyorgy Palfi, Fruit Chan’s Three Husbands, Veit Helmer’s The Bra and Liu Hao’s The Poet.
Tiff’s competition line-up will also include the world premieres of two Japanese titles – Junji Sakamoto’s Another World and Rikiya Imaizumi’s Just Only Love (see full line-up below).
Leading Philippines filmmaker Brillante Ma Mendoza is heading this year’s Competition jury, which also comprises Us producer Bryan Burk,...
- 9/25/2018
- by Liz Shackleton
- ScreenDaily
What exactly is The Great Darkened Days (La Grande Noirceur)? Is it a minimalist Western? A pared-down period piece? An anti-war diatribe? A twisted Lynchian voyage through American abandon?
Actually, this fourth feature from Quebecois writer-director Maxime Giroux is all of these rolled into one, and then some. Hard to define — and at times, to follow — yet intoxicatingly made and extremely easy on the eyes, this story of a Canadian hobo wandering the far west as war wages on in Europe offers up rewards for those willing to hang on through the last, beautifully realized shot. Premiering in Toronto, the ...
Actually, this fourth feature from Quebecois writer-director Maxime Giroux is all of these rolled into one, and then some. Hard to define — and at times, to follow — yet intoxicatingly made and extremely easy on the eyes, this story of a Canadian hobo wandering the far west as war wages on in Europe offers up rewards for those willing to hang on through the last, beautifully realized shot. Premiering in Toronto, the ...
- 9/10/2018
- The Hollywood Reporter - Movie News
What exactly is The Great Darkened Days (La Grande Noirceur)? Is it a minimalist Western? A pared-down period piece? An anti-war diatribe? A twisted Lynchian voyage through American abandon?
Actually, this fourth feature from Quebecois writer-director Maxime Giroux is all of these rolled into one, and then some. Hard to define — and at times, to follow — yet intoxicatingly made and extremely easy on the eyes, this story of a Canadian hobo wandering the far west as war wages on in Europe offers up rewards for those willing to hang on through the last, beautifully realized shot. Premiering in Toronto, the ...
Actually, this fourth feature from Quebecois writer-director Maxime Giroux is all of these rolled into one, and then some. Hard to define — and at times, to follow — yet intoxicatingly made and extremely easy on the eyes, this story of a Canadian hobo wandering the far west as war wages on in Europe offers up rewards for those willing to hang on through the last, beautifully realized shot. Premiering in Toronto, the ...
- 9/10/2018
- The Hollywood Reporter - Film + TV
Other titles on slate include Firecrackers, and Toronto world premiere The Death And Life Of John F. Donovan.
Anick Poirier’s Montreal-based Seville International arrives in Toronto with a sales roster comprising the previously unannounced The Great Darkened Days and Broken Mirrors, as well as Firecrackers, and Toronto world premiere The Death And Life Of John F. Donovan.
The world premiere of Maxime Giroux’s The Great Darkened Days receives its first public screening on September 10 and hails from the director of former Canadian Oscar submission Felix And Meira. The P+I screening is set for September 8.
Martin Dubreuil, Sara Gadon,...
Anick Poirier’s Montreal-based Seville International arrives in Toronto with a sales roster comprising the previously unannounced The Great Darkened Days and Broken Mirrors, as well as Firecrackers, and Toronto world premiere The Death And Life Of John F. Donovan.
The world premiere of Maxime Giroux’s The Great Darkened Days receives its first public screening on September 10 and hails from the director of former Canadian Oscar submission Felix And Meira. The P+I screening is set for September 8.
Martin Dubreuil, Sara Gadon,...
- 9/6/2018
- by Jeremy Kay
- ScreenDaily
Exclusive: Here’s the first trailer for Maxime Giroux’s Tiff-bound absurdist allegory The Great Darkened Days, starring Martin Dubreuil, Romain Duris, Reda Kateb and Sarah Gadon.
Seville International is selling the drama, which follows a draft-dodger from Quebec who during a world war takes refuge in the American West, surviving by competing in Charlie Chaplin impersonation contests. On his long journey home, he encounters various characters under the sway of a fascist leader.
Metafilms’ Sylvain Corbeil and Nancy Grant produced the pic. Grant is also at Tiff with Xavier Dolan’s The Death And Life Of John F. Donovan. Giroux’s well-traveled previous film Felix & Meira won Toronto’s Best Canadian Feature Film Award in 2014 and scored five Canadian Screen Award nominations.
Seville International is selling the drama, which follows a draft-dodger from Quebec who during a world war takes refuge in the American West, surviving by competing in Charlie Chaplin impersonation contests. On his long journey home, he encounters various characters under the sway of a fascist leader.
Metafilms’ Sylvain Corbeil and Nancy Grant produced the pic. Grant is also at Tiff with Xavier Dolan’s The Death And Life Of John F. Donovan. Giroux’s well-traveled previous film Felix & Meira won Toronto’s Best Canadian Feature Film Award in 2014 and scored five Canadian Screen Award nominations.
- 9/5/2018
- by Andreas Wiseman
- Deadline Film + TV
The Toronto Intl. Film Festival has added Denys Arcand’s crime thriller “The Fall of the American Empire” and 18 other Canadian films to its lineup.
Nine of the films are directed by women and 14 are world premieres.
“We’re especially proud to present such a diverse group of films,” said Steve Gravestock, senior programmer. “Ranging from science fiction to fantasy, myth to documentary, and romance to a dystopic vision of our neighbours to the south, this year’s Canadian films come from every region in the country, stretching from east to west and north to south.”
“The Fall of the American Empire” stars Alexandre Landry, Maxim Roy, Yan England, and Rémy Girard and centers Landry’s character discovering two bags of money and facing a moral dilemma. Arcand was inspired to make the film after learning about the 2010 murder of two people in a Montreal boutique.
Sony Classics bought the...
Nine of the films are directed by women and 14 are world premieres.
“We’re especially proud to present such a diverse group of films,” said Steve Gravestock, senior programmer. “Ranging from science fiction to fantasy, myth to documentary, and romance to a dystopic vision of our neighbours to the south, this year’s Canadian films come from every region in the country, stretching from east to west and north to south.”
“The Fall of the American Empire” stars Alexandre Landry, Maxim Roy, Yan England, and Rémy Girard and centers Landry’s character discovering two bags of money and facing a moral dilemma. Arcand was inspired to make the film after learning about the 2010 murder of two people in a Montreal boutique.
Sony Classics bought the...
- 8/1/2018
- by Dave McNary
- Variety Film + TV
The Toronto International Film Festival has added another 19 new titles to its 2018 festival lineup, comprised entirely of features directed by Canadian filmmakers. Each year, Tiff highlights the films that hail from its own shores in a standalone announcement, and this year it includes nine new films from female directors, six debut features, a number of titles from fixtures of the Canadian film scene, and the world premiere of three films that showcase some of the country’s Indigenous talent.
The festival will also play home to a special event world premiere and tribute dedicated to the late filmmaker and conservationist Rob Stewart, centered around his final film, “Sharkwater Extinction.” Stewart passed away in 2017 while working on the film, a followup to his 2006 documentary “Sharkwater.”
“We’re especially proud to present such a diverse group of films,” said Steve Gravestock, Tiff Senior Programmer, in an official statement. “Ranging from science fiction to fantasy,...
The festival will also play home to a special event world premiere and tribute dedicated to the late filmmaker and conservationist Rob Stewart, centered around his final film, “Sharkwater Extinction.” Stewart passed away in 2017 while working on the film, a followup to his 2006 documentary “Sharkwater.”
“We’re especially proud to present such a diverse group of films,” said Steve Gravestock, Tiff Senior Programmer, in an official statement. “Ranging from science fiction to fantasy,...
- 8/1/2018
- by Kate Erbland
- Indiewire
New films from Canadian filmmakers Denys Arcand, Maxime Giroux, Jennifer Baichwal and Bruce Sweeney have been added to 2018 Toronto International Film Festival lineup, which announced its slate of Canadian films on Wednesday.
Nine of the films are directed by women, fsix are debut features and 14 are world premieres.
Canadian features will include Arcand’s “The Fall of the American Empire,” Giroux’s “The Great Darkened Days” and Sweeney’s “Kingsway.”
Also Read: 'Beautiful Boy,' 'A Star Is Born' Highlight Toronto Film Festival Lineup
The Canadian documentaries include Baichwal, Nicholas de Pencier and Edward Burtynsky’s “Anthropocene,” Ron Mann’s “Carmine Street Guitars” and Thom Fitzgerald’s “Splinters.”
Three of the films – Gwaii Edenshaw and Helen Haig-Brown’s “Edge of the Knife,” Darlene Naponse’s “Falls Around Her” and Miranda de Pencier’s “The Grizzlies” – feature indigenous talent.
A special event will screen the documentary “Sharkwater Extinction,...
Nine of the films are directed by women, fsix are debut features and 14 are world premieres.
Canadian features will include Arcand’s “The Fall of the American Empire,” Giroux’s “The Great Darkened Days” and Sweeney’s “Kingsway.”
Also Read: 'Beautiful Boy,' 'A Star Is Born' Highlight Toronto Film Festival Lineup
The Canadian documentaries include Baichwal, Nicholas de Pencier and Edward Burtynsky’s “Anthropocene,” Ron Mann’s “Carmine Street Guitars” and Thom Fitzgerald’s “Splinters.”
Three of the films – Gwaii Edenshaw and Helen Haig-Brown’s “Edge of the Knife,” Darlene Naponse’s “Falls Around Her” and Miranda de Pencier’s “The Grizzlies” – feature indigenous talent.
A special event will screen the documentary “Sharkwater Extinction,...
- 8/1/2018
- by Steve Pond
- The Wrap
The Toronto Film Festival on Wednesday unveiled its Canadian film lineup, including world premieres for the latest films by Maxime Giroux, Zach Lipovsky, Adam Stein and Thom Fitzgerald.
Tiff also announced that Xavier Dolan's The Death and Life of John F. Donovan will also receive a world premiere in Toronto after it bypassed Cannes. Set in the early 2000s, Dolan's seventh film centers on an American TV star, played by Kit Harington, and his correspondence with a young actor-to-be (Jacob Tremblay) living with his mother (Natalie Portman) in England.
The French Canadian auteur for artistic reasons edited Jessica ...
Tiff also announced that Xavier Dolan's The Death and Life of John F. Donovan will also receive a world premiere in Toronto after it bypassed Cannes. Set in the early 2000s, Dolan's seventh film centers on an American TV star, played by Kit Harington, and his correspondence with a young actor-to-be (Jacob Tremblay) living with his mother (Natalie Portman) in England.
The French Canadian auteur for artistic reasons edited Jessica ...
The Toronto Film Festival on Wednesday unveiled its Canadian film lineup, including world premieres for the latest films by Maxime Giroux, Zach Lipovsky, Adam Stein and Thom Fitzgerald.
Tiff also announced that Xavier Dolan's The Death and Life of John F. Donovan will also receive a world premiere in Toronto after it bypassed Cannes. Set in the early 2000s, Dolan's seventh film centers on an American TV star, played by Kit Harington, and his correspondence with a young actor-to-be (Jacob Tremblay) living with his mother (Natalie Portman) in England.
The French Canadian auteur for artistic reasons edited Jessica ...
Tiff also announced that Xavier Dolan's The Death and Life of John F. Donovan will also receive a world premiere in Toronto after it bypassed Cannes. Set in the early 2000s, Dolan's seventh film centers on an American TV star, played by Kit Harington, and his correspondence with a young actor-to-be (Jacob Tremblay) living with his mother (Natalie Portman) in England.
The French Canadian auteur for artistic reasons edited Jessica ...
Quebecois director Maxime Giroux received his first international success with third feature Felix & Meira (2014), which won Best Canadian Film following its premiere at the 2014 Toronto International Film Festival and received Us distribution through Oscilloscope.
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- 1/1/2018
- by Nicholas Bell
- IONCINEMA.com
The current crop of acclaimed Quebec filmmakers shooting feature films south of the border speaks to an unprecedented infatuation on Hollywood’s part with French-Canadian directors.
Among the heavy hitters: Jean-Marc Vallée (“Wild,” “The Dallas Buyers Club,” HBO’s upcoming “Big Little Lies”), Philippe Falardeau (“The Bleeder,” “The Good Lie”), Denis Villeneuve (“Arrival,” “Sicario,” the forthcoming “Blade Runner” sequel), not to mention Xavier Dolan, who’s currently shooting his star-studded English-language debut, “The Death and Life of John F. Donovan.”
But there’s another remarkably prolific, genre-bending Montreal filmmaker – an award-winning festival regular who has clocked in nine features, one medium-length production and shorts to spare over the last decade – who’s never shown much enthusiasm about dipping his toes in the American studio system. No matter how many prizes or festival selections his films rack up (Berlin, Cannes, Locarno and Sundance among them) or how many retrospectives film societies program about his work,...
Among the heavy hitters: Jean-Marc Vallée (“Wild,” “The Dallas Buyers Club,” HBO’s upcoming “Big Little Lies”), Philippe Falardeau (“The Bleeder,” “The Good Lie”), Denis Villeneuve (“Arrival,” “Sicario,” the forthcoming “Blade Runner” sequel), not to mention Xavier Dolan, who’s currently shooting his star-studded English-language debut, “The Death and Life of John F. Donovan.”
But there’s another remarkably prolific, genre-bending Montreal filmmaker – an award-winning festival regular who has clocked in nine features, one medium-length production and shorts to spare over the last decade – who’s never shown much enthusiasm about dipping his toes in the American studio system. No matter how many prizes or festival selections his films rack up (Berlin, Cannes, Locarno and Sundance among them) or how many retrospectives film societies program about his work,...
- 11/11/2016
- by Michael-Oliver Harding
- Indiewire
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
Jose here. In the sensitive romance, Félix and Meira, Hadas Yaron and Martin Dubreuil, play the title characters, two lovers who bond through their loneliness, but must struggle with their very different backgrounds, and the fact that she’s married to someone else. An insightful look at Montreal’s Hasidic community, the film is peculiar for its restraint and might be one of the most memorable romantic films in recent years. Director Maxime Giroux paints a unique portrait of people seeking connections that go beyond typical “movie love”. I spoke to him about the film’s origins, casting his leading lady, and being in the race for Oscar.
Jose: At the beginning of the year I spoke to Luzer Twersky who told me the film originally was supposed to be a comedy. How did you end up with such a subdued romantic drama instead?
Maxime Giroux:It’s funny, when...
Jose: At the beginning of the year I spoke to Luzer Twersky who told me the film originally was supposed to be a comedy. How did you end up with such a subdued romantic drama instead?
Maxime Giroux:It’s funny, when...
- 12/14/2015
- by Jose
- FilmExperience
"Felix and Meira " is Canada's Official Submission in the Best Foreign Language Film category at the 88th Academy Awards. Isa: Udi. U.S. Distributor: Oscilloscope Laboratories
United by spatial closeness yet separated by an ocean of cultural distance, the two doomed lovers in Maxime Giroux‘s “Felix and Meira” embody a romance caught between the clutches of strict religious mandates and the refreshing air of freedom. Sumptuously intimate and permeated with seductive melancholy, Giroux film follows a secular French Canadian man and a married Hasidic woman as they find comfort, even if temporary, from the quiet turmoil in their lives.
Read More: Review: 'Felix and Meira' is a Delicate Portrait of a Uniquely Forbidden Romance
Felix (Martin Dubreuil) is no longer a young man, but his life is far from being stable. His lack of interest in following his father’s footsteps has turned him into an outcast in our success-driven society. Bound to exist under the shadow of the Hasidic community’s expectations, Meira’s only respite from her duties as a wife are music and her occasional walks around the neighborhood. Once Felix and Meira (Hadas Yaron) cross paths and their tender desperation to be someone else takes over them, her husband, Shulem (Luzer Twersky), becomes the collateral victim. Is it Shulem’s fault that Meira feels trapped? Or are they both victims of the only lifestyle they’ve ever known? Is Felix offering an escape or destroying a family? It’s in the intricate search for these answers that Giroux finds moments of human truth for all the affected parts in this emotional triangle.
Read More: Whistler Film Festival 2015 Unveils First 18 Films Plus Other Highlights
Giroux is not a Jewish man and knew nothing about this community and their faith prior to the making of the film, but living in a community where the secular and the religious shared space but never connected inspired him to dive into the unknown. Though he was fearful of the risk he was taking, the result is elegantly executed and unassumingly affecting. He proves that melodrama rarely has a place where there is truth.
Here is our conversation with Giroux on understanding the Hasidic community he only knew from afar before, on the identity Quebecois people, and why he enjoys making films about things he is against.
Aguilar: Both Felix and Meira's world's coexist without ever touching each other. What prompted you to delve into these parallel lifestyles, in particular that of the Hasidic community, which is foreign to most of us?
Maxime Giroux: I have to say I was a little like Felix, the character. I was a bit naïve about the Hasidic community. I didn’t know anything about it and I was living, like him, in the same neighborhood as the Hasidic people. I don’t know why, but for some reason I wasn’t really interested in them. My community and their community live together, but we don’t talk to them and they don’t talk to us. At one point I was searching for an idea to make a movie. I was outside this cafe everyday and they would walk by in front of me. I talked to my co-writer Alexandre Laferrière and said, “Why don’t we make a film about this community? We don’t know anything about them. We should do research and try to learn more about them. We should try to be in contact with them.”
It was as simple as that. The reason why I made this movie was to get to know them a little bit more. I was naïve because I didn’t know it would be so complex to write a movie about them. The movie is simple in a way. It’s a simple love story or a normal love story, but it was tough to write it because there were things we couldn’t say and there were other things we could say but only in a certain way. We had to be careful. Our goal was to say a lot of things about this community but when we wrote it, I realized that it was too much and that we couldn’t show it all in the movie. It was really difficult. It took like two and a half years to write the script, to rewrite it, and to figure it all out.
What sort of research did you do or what kind of interaction did you have with this community in order to portray them accurately or in an honest manner? You are not part of the community, so in a sense, like Felix, you were an outsider looking at them from afar.
Maxime Giroux: That was the main complexity of making the film. Alex was more into the books. He was reading books about the Hassidic community and Judaism. We are not Jewish, so we were starting to learn from the beginning. We knew nothing. We started to write the script and while he was more into the books, I was more on the field. I was riding my bicycle, walking the neighborhood, going into synagogues and community centers, and talking to them. I discovered that every time I started to talk about how I was going to make a movie about their community they stop talking about the subject of the film. They said, “No, you can’t make a movie about that. Forget about it.” Some people among them were curious and asked me, “What’s your story about?” I would say, “It’s a love story between a French Canadian man and a Hasidic woman. ” They would say, “That’s impossible.” I would asked them, “Why do you say it’s impossible I’ve heard stories?” They would always reply, “No, it’s impossible.” At one point I thought, “Oh my God, it’s going to be impossible for me to make this movie because I need some of these people to help me make it. I can’t do it myself. I don’t know this community.” The only way for me to make the movie was to talk to people who have left the Hasidic community.
How difficult was it to find them and how willing were they to help you tell this story?
Maxime Giroux: I found Luzer, who plays Meira’s husband Shulem, on the Internet. I also found other ex-Hasidic people who lived in New York. I went there to talk to a lot of people who had left the community and all of them told me to go see Luzer. I already knew that I wanted to meet him because I thought he was the best prospect for the role, but everybody in New York confirm it and said, “You should go see this guy, he is amazing and he wants to act in movies.” I met him and he was such a character in real life and then I decided to work with him. He helped us translate the script into Yiddish. It was super important for me to make the film in Yiddish. He also helped us be accurate in terms of the set decorations, the props, and the costumes. He really helped us. Without him it would have been impossible to make the movie.
In the film there are also four other ex-members of the Hasidic community. All of them really helped me. A few months before making the film I thought, “I’m not going to make this film. It’s impossible. I don’t have the key to make this film even if I have the script,” but when I met these people they really helped us. That’s why I think that the ex-Hasidic people who saw the film really liked it because they feel it’s accurate. Just yesterday a guy from the U.K, an ex-member of the community, wrote to me because the film played in London a few days ago. He saw it and said, “Oh my God. It’s like my life.”
When you talked to them what were some of the reasons they gave you for leaving the Hasidic community?
Maxime Giroux: There are a lot of reasons. Just like in every community bad things happen. For example, I heard stories that in Brooklyn there have been cases of boys being sexually abused by adults in the community. Some people want to leave the community because of that. Others just don’t accept this way of living and others just don’t believe in religion. They were born into it but then at 8 or 9-years-old they start asking questions and by 14 they want to quit. There are a lot of different reasons depending on the person.
In your film Meira wants to leave because she wants freedom and she is loves, or at least is interested in Felix. Tell me about writing this beautifully complex character. She a woman living a double life.
Maxime Giroux: For me the main thing is that she wants freedom. We discovered that when you are a Hasidic woman you are first a child and then at 12-years-old instantly you become a woman. At 12-years-old they tell you, “Ok, now you have to learn to be a woman in order to become a mother.” They don’t have teenage years. For me, Meira wants to have those teenage years. She never had them but she wants to live them. She wants that freedom when you have when are teenager and you start to listen to music and to define yourself with art. She wants those years where you find a path for yourself. I think she wants freedom. Is she really in love with Felix? He is there and she is perfect for him. I think love in life is like that most of the time. We fall in love with someone that’s at the same place and the same moment of his or her life. You need that person so you can grow for a certain period of time. Sometimes this growth is for 10, 20 or 30 years, and sometimes it’s only for a few months. So is she really in love with him? Maybe.
The ending is also very ambiguous. It doesn’t give us a straight answer or a perfectly wrapped happy ending. There is uncertainty in both of their faces.
Maxime Giroux: Yes, it was very important for a lot of reasons. Even us, in our society, when we leave someone, like if you have two children and a wife or a husband, we are not sure about doing it. After a few months you might think, “Did I do the right thing? Maybe I was wrong. Maybe my life with my wife and children was wonderful but I fucked it up." There was also the fact that when Hassidic people leave the community they don’t have family anymore, they don’t have friends anymore, they don’t have education anymore.
Are they sort of like the stories we hear about people who leave Scientology or cults?
Maxime Giroux: I don’t know much about scientology, but at least some of those people have something before that and they have an education. Hasidic people don’t have an education, some of them barely speak English. When they leave their community they arrive in this society like if they were an immigrant from another country without a job, without money, without friends, and without family. They have nothing. There is a high suicide rate among them because you can’t quit religion in one day. That’s why the ending of the film is like that. Religion was so strong for 20-something years in Meira's life, so when you try to quit everything you feel lost and you feel alone even if there is someone there. She doesn’t really know Felix and he doesn’t know her. It’s going to be a new life for him too. He will have to take care of her and of a child that he doesn’t know. In turn, Meira's daughter will never see her father again, even if he was a good guy and love both of them. It was impossible for me to write a happy ending.
Through small details we see that when Meira is with Felix, outside of her real life her self-image change. The beauty that she’s been hiding comes out and there is a certain glow about her. She rediscovers herself when she is outside of her religious world.
Maxime Giroux: Yes. Something like this happened to me. I was with a woman for years. She was always a beautiful woman, but when she left me everyone was telling her, “You look great!” It's not that I was a bad guy to her, but we were not happy together at the end of the relationship. Once someone leaves a relationship where he or she feels trapped, there is like a new light about that person. That’s what freedom gives you. Hadas Yaron was perfect for this role. She doesn’t have to say anything. It’s all in her eyes and the way she moves. When she puts jeans on for the first time it’s an incredible moment.
Those moments, which we take for granted and consider mundane, are revelatory experiences for her.
Maxime Giroux: When we wrote the scene with the jeans we didn’t really know what it meant. We wrote it thinking, “Probably for her, since she has never had the chance to wear pants in her life, this will mean something.” Jeans are a symbol of freedom. In the 1950s young people would wear casual jeans as a “fuck you” to their parents. Still today they represent something casual and free. For most Hasidic people, men or women, the first time they put jeans on is one of their most memorable experiences. The first time they wear them is like, “Oh my God, what’s happening!” It’s something they’ve never experienced. Something so tight on their skin. It’s a pretty sensual sensation. We discovered what it meant after we did the film. Hasidic people who watched the film would say, “The scene with the jeans is perfect.” Those are great little details, but without a good actress it would have been impossible.
Tell me about your decision to cast Hadas Yaron. This is a challenging role in terms of the languages spoken and the delicate vulnerability required to play a woman divided between two lives.
Maxime Giroux: As you know she was in film called “Fill the Void,” which is also about the Hasidic community, because of that I didn’t want her in my movie at first. I said, “She already acted in a movie about the Hasidic community, and she doesn’t speak Yiddish or French.” I started doing research here in the U.S. to find an actress. I found a few Hasidic women but they were two tall for my two actors who are short and thin. I didn't really find someone that was good. Then my two producers, who are also Xavier Dolan's producers, without my permission, asked her to audition. I saw the video in my computer and she was speaking French and 15 seconds after I thought, "That's Meira. That's totally her." She is very different from her role in "Fill the Void" where she is more reserved. I said, "Yes she is Meira but she needs to learn Yiddish and French," and she did. She was really good.
Speaking about language, although there is dialogue in the film, this is a very quiet story. Silences and gazes are really powerful between the protagonists.
Maxime Giroux: I think that really represents who I am. Even if I talk a lot with you right now, I'm not a really intellectual person. I'm more introspective. My world is more inside of me. I think this comes from my culture, from the Quebecois culture. We are really instinctive people. We don’t talk much. We are not like French people from France who talk and talk and who are really intellectual when they speak. I think this is one of the reasons why my characters not talk a lot. It’s more about little actions and little details. That’s because of who I am. In a way I see myself in Meira too, even if I didn’t live that life. When I was young I was a little bit like her in way. I was trying to get out of the community I grew up in, which was uneducated and where there was no art. Even if I loved those people I wanted to have more than. I see myself in Meira maybe more than in Felix. I think Felix is more like my co-writer.
Felix is going through his own problems after his father's death. He is a mess. He acts like a young man who hasn’t figured himself out. I feel that's what makes him connect with Meira, the fact that he is also, despite his age, still discovering who he wants to be.
Maxime Giroux: He represents a lot of people I know, but I also think he represents my society, the French Canadian society, which is getting older. We are a new country like the U.S. We are a young country unlike France or Germany. In those terms French-Canadian society is really like a teenager in a way. We are a little bit lost. In the 1950s, 60s, and 70s we decided to remove everything religious. Before that we were a very religious society, but not anymore. We lost our sense of family and community. I think in that sense Felix really represents my community. These are two communities that are living together. One is really about community and family values and the other one is like, “I don’t give a shit about my father, mother or my neighbor.” It’s a bit like in America too. We care about ourselves: the individual. It was really important for us two have these two communities. He is lost in this community because we have to perform. To be a good citizen in our society you need to be successful and make money, and he doesn’t want to do that. His father did that and he was not happy. Felix is more like, “I don’t give a shit about being that.” He doesn’t want to be part of the system and she is not part of the system either.
Does he love Meira?
Maxime Giroux: I think he loves her more than she loves him, but she loves him too in a way too.
Do you think this sense of isolation in your film also comes from the idea that Quebec and French Canadians are an island within Canada?
Maxime Giroux: Yes. Right now we are a little bit lost in terms of who we are. In the 70s and 80s we were like, “Yes, we are French-Canadian! Quebecois!" We were proud of it. Now we are more like, “Yes, we are French-Canadian but at the same we want to make money and we want the same things as other Canadians. We don’t give a shit about who are. We just want to make money. “
Something that really makes the film emotionally poignant is that you don’t make Shulem, Meira’s husband, a villain. He is a man who loves his wife and child but who has chosen to live by the parameters of his faith.
Maxime Giroux: That was incredibly important. I’m an atheist. I don’t believe in religion, but at the same time the goal of the film was to try to understand people who need religion. I didn’t understand them before making this movie. There are so many people who believe in and who need religion. It was important for me to represent them, which is why Meira's husband is very important. We had to see his humanity, not only the religion behind him but also the human. Most humans on this planet are good people. Most of them. I don’t have a number, but everywhere I've traveled most people are good. When you spend time with people you see most of them are good. Society or religion sometimes makes them bad.
In life, I hate police. In Montreal whenever there is a student protest I’m always on the student’s side, not the police. But I know that there are good people in the police force. That’s why I want to make a movie about police at some point, because I don’t like them and I want to like them a little bit more. I want to say to myself at the end of the journey, “You were wrong. There are some fucking good people in the police.”
Is there a reason why you don’t like police?
Maxime Giroux: I don’t like people with that kind of power. I feel like they are often on a power trip. Not all of them, but in my head I generalize them, just like I did with religion. After making “Felix and Meira” I understood that some people need religion and others simply don’t.
It’s very interesting and admirable that you make films about things you don’t understand in order to understand them better.
Maxime Giroux: Not only that I don’t understand, but that at the beginning of the process I’m against. I know that at the end I’ll change my ideas and that's the reason why I’m making a film on the subject. I want to understand those people and I want to prove to myself that humans and life are more complex and more beautiful than I thought.
Shulem is just doing what his religion mandates. It's definitely his choice, but we know that he doesn't have may options.
Maxime Giroux: He is also a victim. It was important for me to show that in the movie even if it’s subtle. Religion can be good, but in this case the problem is that if you don’t act like you are supposed to in that community people will slap your hand. They tell Meira, “You have to be like this. You have to have children and you have to take care of your children.” That’s the bad thing about this religion, and I wanted to show that. This guy is a victim of that because if the community would give women more space and freedom, he would still be with her. He would still be the father of that child and the husband to that woman.
Regarding the film's cinematography, what kind of references or specific styles did you discuss with your Dp? There is a classic, almost tender quality to the images.
Maxime Giroux: I've worked with Sara Mishara, the director of photography, before. I started working with her in university. We don’t have to talk a lot, but the few things we said to ourselves before starting the movie was that we wanted it to look a little bit like the immigrant movies of the 70s. Not “The Godfather” but all those movies about immigrants that took place in Brooklyn. For me Meira is an immigrant living in North America in a sense. We wanted the 70ish look or Gordon Willis-ish. I had the chance to visit some Hasidic households in Brooklyn and Montreal and all of the colors felt like if I was in the 70s. The color palette was really toned down and there were not bright colors. There might be bright colors sometimes in their clothing but not in the house. We decided to get some lenses that are not very good to avoid having a perfectly sharp image. We decided to make a very simple movie in terms of how we were going to shoot it and let the characters talk. We weren’t trying to do too much. We wanted to be humble like the characters and the subject. At the same we didn’t have a big budget, which I think was good for us because Sara didn’t really have the chance to light the scenes so we were playing with the sun and the available light. I think it gives the film a special quality.
The scenes in New York City, particularly those in Time Square, are incredibly beautiful and intimate. You found a very intimate moment between these two people in a crowded place full of lights.
Maxime Giroux: I thought the scene we shot in Time Square could turn out to be really cheesy, but it didn't. We didn’t have a lot of references for that scene, but I found a screen test that Natalie Wood and James Dean did for a movie. In that test they were doing what Felix and Meira do in the film. I don't know why, but I just did the same scene but in Time Square. I decided not to actually show Time Square but let the lights fall on them. We are in their bubble. It's funny because we had the camera but no lights, nobody saw or noticed us shooting there. The camera wasn't too big or high and there were so many people there that nobody thought we were shooting a movie. You can feel it in the scene, that they are in their bubble and the lights are just falling on them. For Meira, the character, this is special. Most Hasidic people in New York or Brooklyn have never gone to Time Square. They don't know what's there. For her is like, "Wow! There is also things like this out in the world," when for us it might like, "It's only Time Square." I think you can feel that for her it's not only Time Square, it's something more. It's something open, a big world has opened for her. I really like that scene and the music on it too.
Now that you mention music, that's one of the things Meira enjoys the most and that is also prohibited. She enjoys these classic pop songs but is not allowed to listen to them.
Maxime Giroux: Yes. She can't listen to that kind of music. Like I said, for me, and I think also for most people, music defines you or shapes you when you are young, especially when you are on your teens. That's why people still listen to U2 at 40-years-old, because when they discovered who they were that music was there. At 40-years-old you still the same person, you'll probably stay the same person all your life, and you still listen to U2. I don't understand that but that's how it is. She defined herself and found herself with this music, which is music by Black American singers from a particular time period. They were probably not slaves, but their mothers were slaves, they might feel like they are also slaves in a different way and they decide to take the fucking guitar and play music in a rebellious way.
Why did you decide to include that particular clip of this Black woman playing the guitar? It's also placed mostly without context within the narrative, a bold decision on your part because it break the cinematic grammar we are used to.
Maxime Giroux: That's the reason. For me this woman took this guitar in a man's world and said, "Fuck you! I'm gonna play the guitar and I'm gonna do whatever I want." That's what Meira wants, to do whatever she wants. At the beginning I was not supposed to put it in the movie but I decided to bring my computer on the set and I said to my Dp, Sara, "Can you film this clip on YouTube?" I started the clip and she started to shoot. Then the entire crew gathered around the computer saying, "Oh my God, what's that? It's so great" I knew it was great, and everyone was amazed by this woman, so I said, "I have to put this in the movie." I didn't know where, but during the editing process I needed a transition. I placed somewhere where you feel like something happened at that moment even if you don't see it. I thought, "Ok, I'm not supposed to do that as a filmmaker. It's a transgression, but I don't give shit. I just love this scene. I'm going to put it in and I know that some people will ask me why and I understand, but most people will like it. They will enjoy watching this big black woman emancipate herself by taking this guitar." Is the same idea during the scene at the Hispanic bar. This woman is dancing and she says to Meira, "Come dance with us." It was important for me that some women embraced Meira.
"Felix and Meira" is a great film, but it's a small. Did the positive reactions around the world surprise you? It did very well in the U.S. for a film its size.
Maxime Giroux: For sure. You are always surprised when you have success. It's not a huge success, but is still a success. The film cost nearly half a million dollars, so we were very surprised. At the same time I knew that the subject was interesting. Every time someone asked me, "What's your next movie?" I would say, "We'll it's a love story between a French Canadian man and a Hasidic woman who is married and has a daughter." Everyone was like, "Oh that's interesting." I knew that before shooting the movie but I was really afraid. I'm not Jewish, and it's difficult to make a movie about this subject. Telefilm Canada gave me money, but the Quebec government didn't give me money. They said, "How can you talk about them? You are not a Jew." I was really afraid and I knew that I had to be careful, but I also knew that people were interested in this story - even if it's a classic story. Also, when you put music like that in the movie you know that people will be easily touched. In cinema you can put a song like that and a plate of fruit on the screen and people will be touched. Let's be honest. Music is the easiest way to manipulate the audience in a movie. The director has to manipulate the audience in a good way, but music is the easiest way to manipulate the audience. You put a David Bowie song and people from that era will be touched because they will remember, "Oh that was the song that I liked when I was 16."
Now that "Felix and Meira" is traveling on its own two feet and is out there in the world, what are you working on next? Another small character study perhaps or something bigger?
Maxime Giroux: My next project will involve music. I was a drummer before and I did a lot of music videos. For my first film I refused to use music because I thought it was too easy. On "Felix and Meira" I said, "Fuck it, I'm doing whatever I want. I'm doing it for me." But the next one is about a female singer who is not very famous but everywhere around the world some people know about her. Sort of like Grimes, she can walk down the street and most people wont recognize her, but everywhere in the world some people do know her. The character is French Canadian but she sings in English. She has some money problems and to solve this problems she is going to do a concert in China with a cover band at a hotel. However, the real reason why she is doing it is to do some industrial spying in China
"Felix and Meira" is now available on DVD and on digital platforms.
United by spatial closeness yet separated by an ocean of cultural distance, the two doomed lovers in Maxime Giroux‘s “Felix and Meira” embody a romance caught between the clutches of strict religious mandates and the refreshing air of freedom. Sumptuously intimate and permeated with seductive melancholy, Giroux film follows a secular French Canadian man and a married Hasidic woman as they find comfort, even if temporary, from the quiet turmoil in their lives.
Read More: Review: 'Felix and Meira' is a Delicate Portrait of a Uniquely Forbidden Romance
Felix (Martin Dubreuil) is no longer a young man, but his life is far from being stable. His lack of interest in following his father’s footsteps has turned him into an outcast in our success-driven society. Bound to exist under the shadow of the Hasidic community’s expectations, Meira’s only respite from her duties as a wife are music and her occasional walks around the neighborhood. Once Felix and Meira (Hadas Yaron) cross paths and their tender desperation to be someone else takes over them, her husband, Shulem (Luzer Twersky), becomes the collateral victim. Is it Shulem’s fault that Meira feels trapped? Or are they both victims of the only lifestyle they’ve ever known? Is Felix offering an escape or destroying a family? It’s in the intricate search for these answers that Giroux finds moments of human truth for all the affected parts in this emotional triangle.
Read More: Whistler Film Festival 2015 Unveils First 18 Films Plus Other Highlights
Giroux is not a Jewish man and knew nothing about this community and their faith prior to the making of the film, but living in a community where the secular and the religious shared space but never connected inspired him to dive into the unknown. Though he was fearful of the risk he was taking, the result is elegantly executed and unassumingly affecting. He proves that melodrama rarely has a place where there is truth.
Here is our conversation with Giroux on understanding the Hasidic community he only knew from afar before, on the identity Quebecois people, and why he enjoys making films about things he is against.
Aguilar: Both Felix and Meira's world's coexist without ever touching each other. What prompted you to delve into these parallel lifestyles, in particular that of the Hasidic community, which is foreign to most of us?
Maxime Giroux: I have to say I was a little like Felix, the character. I was a bit naïve about the Hasidic community. I didn’t know anything about it and I was living, like him, in the same neighborhood as the Hasidic people. I don’t know why, but for some reason I wasn’t really interested in them. My community and their community live together, but we don’t talk to them and they don’t talk to us. At one point I was searching for an idea to make a movie. I was outside this cafe everyday and they would walk by in front of me. I talked to my co-writer Alexandre Laferrière and said, “Why don’t we make a film about this community? We don’t know anything about them. We should do research and try to learn more about them. We should try to be in contact with them.”
It was as simple as that. The reason why I made this movie was to get to know them a little bit more. I was naïve because I didn’t know it would be so complex to write a movie about them. The movie is simple in a way. It’s a simple love story or a normal love story, but it was tough to write it because there were things we couldn’t say and there were other things we could say but only in a certain way. We had to be careful. Our goal was to say a lot of things about this community but when we wrote it, I realized that it was too much and that we couldn’t show it all in the movie. It was really difficult. It took like two and a half years to write the script, to rewrite it, and to figure it all out.
What sort of research did you do or what kind of interaction did you have with this community in order to portray them accurately or in an honest manner? You are not part of the community, so in a sense, like Felix, you were an outsider looking at them from afar.
Maxime Giroux: That was the main complexity of making the film. Alex was more into the books. He was reading books about the Hassidic community and Judaism. We are not Jewish, so we were starting to learn from the beginning. We knew nothing. We started to write the script and while he was more into the books, I was more on the field. I was riding my bicycle, walking the neighborhood, going into synagogues and community centers, and talking to them. I discovered that every time I started to talk about how I was going to make a movie about their community they stop talking about the subject of the film. They said, “No, you can’t make a movie about that. Forget about it.” Some people among them were curious and asked me, “What’s your story about?” I would say, “It’s a love story between a French Canadian man and a Hasidic woman. ” They would say, “That’s impossible.” I would asked them, “Why do you say it’s impossible I’ve heard stories?” They would always reply, “No, it’s impossible.” At one point I thought, “Oh my God, it’s going to be impossible for me to make this movie because I need some of these people to help me make it. I can’t do it myself. I don’t know this community.” The only way for me to make the movie was to talk to people who have left the Hasidic community.
How difficult was it to find them and how willing were they to help you tell this story?
Maxime Giroux: I found Luzer, who plays Meira’s husband Shulem, on the Internet. I also found other ex-Hasidic people who lived in New York. I went there to talk to a lot of people who had left the community and all of them told me to go see Luzer. I already knew that I wanted to meet him because I thought he was the best prospect for the role, but everybody in New York confirm it and said, “You should go see this guy, he is amazing and he wants to act in movies.” I met him and he was such a character in real life and then I decided to work with him. He helped us translate the script into Yiddish. It was super important for me to make the film in Yiddish. He also helped us be accurate in terms of the set decorations, the props, and the costumes. He really helped us. Without him it would have been impossible to make the movie.
In the film there are also four other ex-members of the Hasidic community. All of them really helped me. A few months before making the film I thought, “I’m not going to make this film. It’s impossible. I don’t have the key to make this film even if I have the script,” but when I met these people they really helped us. That’s why I think that the ex-Hasidic people who saw the film really liked it because they feel it’s accurate. Just yesterday a guy from the U.K, an ex-member of the community, wrote to me because the film played in London a few days ago. He saw it and said, “Oh my God. It’s like my life.”
When you talked to them what were some of the reasons they gave you for leaving the Hasidic community?
Maxime Giroux: There are a lot of reasons. Just like in every community bad things happen. For example, I heard stories that in Brooklyn there have been cases of boys being sexually abused by adults in the community. Some people want to leave the community because of that. Others just don’t accept this way of living and others just don’t believe in religion. They were born into it but then at 8 or 9-years-old they start asking questions and by 14 they want to quit. There are a lot of different reasons depending on the person.
In your film Meira wants to leave because she wants freedom and she is loves, or at least is interested in Felix. Tell me about writing this beautifully complex character. She a woman living a double life.
Maxime Giroux: For me the main thing is that she wants freedom. We discovered that when you are a Hasidic woman you are first a child and then at 12-years-old instantly you become a woman. At 12-years-old they tell you, “Ok, now you have to learn to be a woman in order to become a mother.” They don’t have teenage years. For me, Meira wants to have those teenage years. She never had them but she wants to live them. She wants that freedom when you have when are teenager and you start to listen to music and to define yourself with art. She wants those years where you find a path for yourself. I think she wants freedom. Is she really in love with Felix? He is there and she is perfect for him. I think love in life is like that most of the time. We fall in love with someone that’s at the same place and the same moment of his or her life. You need that person so you can grow for a certain period of time. Sometimes this growth is for 10, 20 or 30 years, and sometimes it’s only for a few months. So is she really in love with him? Maybe.
The ending is also very ambiguous. It doesn’t give us a straight answer or a perfectly wrapped happy ending. There is uncertainty in both of their faces.
Maxime Giroux: Yes, it was very important for a lot of reasons. Even us, in our society, when we leave someone, like if you have two children and a wife or a husband, we are not sure about doing it. After a few months you might think, “Did I do the right thing? Maybe I was wrong. Maybe my life with my wife and children was wonderful but I fucked it up." There was also the fact that when Hassidic people leave the community they don’t have family anymore, they don’t have friends anymore, they don’t have education anymore.
Are they sort of like the stories we hear about people who leave Scientology or cults?
Maxime Giroux: I don’t know much about scientology, but at least some of those people have something before that and they have an education. Hasidic people don’t have an education, some of them barely speak English. When they leave their community they arrive in this society like if they were an immigrant from another country without a job, without money, without friends, and without family. They have nothing. There is a high suicide rate among them because you can’t quit religion in one day. That’s why the ending of the film is like that. Religion was so strong for 20-something years in Meira's life, so when you try to quit everything you feel lost and you feel alone even if there is someone there. She doesn’t really know Felix and he doesn’t know her. It’s going to be a new life for him too. He will have to take care of her and of a child that he doesn’t know. In turn, Meira's daughter will never see her father again, even if he was a good guy and love both of them. It was impossible for me to write a happy ending.
Through small details we see that when Meira is with Felix, outside of her real life her self-image change. The beauty that she’s been hiding comes out and there is a certain glow about her. She rediscovers herself when she is outside of her religious world.
Maxime Giroux: Yes. Something like this happened to me. I was with a woman for years. She was always a beautiful woman, but when she left me everyone was telling her, “You look great!” It's not that I was a bad guy to her, but we were not happy together at the end of the relationship. Once someone leaves a relationship where he or she feels trapped, there is like a new light about that person. That’s what freedom gives you. Hadas Yaron was perfect for this role. She doesn’t have to say anything. It’s all in her eyes and the way she moves. When she puts jeans on for the first time it’s an incredible moment.
Those moments, which we take for granted and consider mundane, are revelatory experiences for her.
Maxime Giroux: When we wrote the scene with the jeans we didn’t really know what it meant. We wrote it thinking, “Probably for her, since she has never had the chance to wear pants in her life, this will mean something.” Jeans are a symbol of freedom. In the 1950s young people would wear casual jeans as a “fuck you” to their parents. Still today they represent something casual and free. For most Hasidic people, men or women, the first time they put jeans on is one of their most memorable experiences. The first time they wear them is like, “Oh my God, what’s happening!” It’s something they’ve never experienced. Something so tight on their skin. It’s a pretty sensual sensation. We discovered what it meant after we did the film. Hasidic people who watched the film would say, “The scene with the jeans is perfect.” Those are great little details, but without a good actress it would have been impossible.
Tell me about your decision to cast Hadas Yaron. This is a challenging role in terms of the languages spoken and the delicate vulnerability required to play a woman divided between two lives.
Maxime Giroux: As you know she was in film called “Fill the Void,” which is also about the Hasidic community, because of that I didn’t want her in my movie at first. I said, “She already acted in a movie about the Hasidic community, and she doesn’t speak Yiddish or French.” I started doing research here in the U.S. to find an actress. I found a few Hasidic women but they were two tall for my two actors who are short and thin. I didn't really find someone that was good. Then my two producers, who are also Xavier Dolan's producers, without my permission, asked her to audition. I saw the video in my computer and she was speaking French and 15 seconds after I thought, "That's Meira. That's totally her." She is very different from her role in "Fill the Void" where she is more reserved. I said, "Yes she is Meira but she needs to learn Yiddish and French," and she did. She was really good.
Speaking about language, although there is dialogue in the film, this is a very quiet story. Silences and gazes are really powerful between the protagonists.
Maxime Giroux: I think that really represents who I am. Even if I talk a lot with you right now, I'm not a really intellectual person. I'm more introspective. My world is more inside of me. I think this comes from my culture, from the Quebecois culture. We are really instinctive people. We don’t talk much. We are not like French people from France who talk and talk and who are really intellectual when they speak. I think this is one of the reasons why my characters not talk a lot. It’s more about little actions and little details. That’s because of who I am. In a way I see myself in Meira too, even if I didn’t live that life. When I was young I was a little bit like her in way. I was trying to get out of the community I grew up in, which was uneducated and where there was no art. Even if I loved those people I wanted to have more than. I see myself in Meira maybe more than in Felix. I think Felix is more like my co-writer.
Felix is going through his own problems after his father's death. He is a mess. He acts like a young man who hasn’t figured himself out. I feel that's what makes him connect with Meira, the fact that he is also, despite his age, still discovering who he wants to be.
Maxime Giroux: He represents a lot of people I know, but I also think he represents my society, the French Canadian society, which is getting older. We are a new country like the U.S. We are a young country unlike France or Germany. In those terms French-Canadian society is really like a teenager in a way. We are a little bit lost. In the 1950s, 60s, and 70s we decided to remove everything religious. Before that we were a very religious society, but not anymore. We lost our sense of family and community. I think in that sense Felix really represents my community. These are two communities that are living together. One is really about community and family values and the other one is like, “I don’t give a shit about my father, mother or my neighbor.” It’s a bit like in America too. We care about ourselves: the individual. It was really important for us two have these two communities. He is lost in this community because we have to perform. To be a good citizen in our society you need to be successful and make money, and he doesn’t want to do that. His father did that and he was not happy. Felix is more like, “I don’t give a shit about being that.” He doesn’t want to be part of the system and she is not part of the system either.
Does he love Meira?
Maxime Giroux: I think he loves her more than she loves him, but she loves him too in a way too.
Do you think this sense of isolation in your film also comes from the idea that Quebec and French Canadians are an island within Canada?
Maxime Giroux: Yes. Right now we are a little bit lost in terms of who we are. In the 70s and 80s we were like, “Yes, we are French-Canadian! Quebecois!" We were proud of it. Now we are more like, “Yes, we are French-Canadian but at the same we want to make money and we want the same things as other Canadians. We don’t give a shit about who are. We just want to make money. “
Something that really makes the film emotionally poignant is that you don’t make Shulem, Meira’s husband, a villain. He is a man who loves his wife and child but who has chosen to live by the parameters of his faith.
Maxime Giroux: That was incredibly important. I’m an atheist. I don’t believe in religion, but at the same time the goal of the film was to try to understand people who need religion. I didn’t understand them before making this movie. There are so many people who believe in and who need religion. It was important for me to represent them, which is why Meira's husband is very important. We had to see his humanity, not only the religion behind him but also the human. Most humans on this planet are good people. Most of them. I don’t have a number, but everywhere I've traveled most people are good. When you spend time with people you see most of them are good. Society or religion sometimes makes them bad.
In life, I hate police. In Montreal whenever there is a student protest I’m always on the student’s side, not the police. But I know that there are good people in the police force. That’s why I want to make a movie about police at some point, because I don’t like them and I want to like them a little bit more. I want to say to myself at the end of the journey, “You were wrong. There are some fucking good people in the police.”
Is there a reason why you don’t like police?
Maxime Giroux: I don’t like people with that kind of power. I feel like they are often on a power trip. Not all of them, but in my head I generalize them, just like I did with religion. After making “Felix and Meira” I understood that some people need religion and others simply don’t.
It’s very interesting and admirable that you make films about things you don’t understand in order to understand them better.
Maxime Giroux: Not only that I don’t understand, but that at the beginning of the process I’m against. I know that at the end I’ll change my ideas and that's the reason why I’m making a film on the subject. I want to understand those people and I want to prove to myself that humans and life are more complex and more beautiful than I thought.
Shulem is just doing what his religion mandates. It's definitely his choice, but we know that he doesn't have may options.
Maxime Giroux: He is also a victim. It was important for me to show that in the movie even if it’s subtle. Religion can be good, but in this case the problem is that if you don’t act like you are supposed to in that community people will slap your hand. They tell Meira, “You have to be like this. You have to have children and you have to take care of your children.” That’s the bad thing about this religion, and I wanted to show that. This guy is a victim of that because if the community would give women more space and freedom, he would still be with her. He would still be the father of that child and the husband to that woman.
Regarding the film's cinematography, what kind of references or specific styles did you discuss with your Dp? There is a classic, almost tender quality to the images.
Maxime Giroux: I've worked with Sara Mishara, the director of photography, before. I started working with her in university. We don’t have to talk a lot, but the few things we said to ourselves before starting the movie was that we wanted it to look a little bit like the immigrant movies of the 70s. Not “The Godfather” but all those movies about immigrants that took place in Brooklyn. For me Meira is an immigrant living in North America in a sense. We wanted the 70ish look or Gordon Willis-ish. I had the chance to visit some Hasidic households in Brooklyn and Montreal and all of the colors felt like if I was in the 70s. The color palette was really toned down and there were not bright colors. There might be bright colors sometimes in their clothing but not in the house. We decided to get some lenses that are not very good to avoid having a perfectly sharp image. We decided to make a very simple movie in terms of how we were going to shoot it and let the characters talk. We weren’t trying to do too much. We wanted to be humble like the characters and the subject. At the same we didn’t have a big budget, which I think was good for us because Sara didn’t really have the chance to light the scenes so we were playing with the sun and the available light. I think it gives the film a special quality.
The scenes in New York City, particularly those in Time Square, are incredibly beautiful and intimate. You found a very intimate moment between these two people in a crowded place full of lights.
Maxime Giroux: I thought the scene we shot in Time Square could turn out to be really cheesy, but it didn't. We didn’t have a lot of references for that scene, but I found a screen test that Natalie Wood and James Dean did for a movie. In that test they were doing what Felix and Meira do in the film. I don't know why, but I just did the same scene but in Time Square. I decided not to actually show Time Square but let the lights fall on them. We are in their bubble. It's funny because we had the camera but no lights, nobody saw or noticed us shooting there. The camera wasn't too big or high and there were so many people there that nobody thought we were shooting a movie. You can feel it in the scene, that they are in their bubble and the lights are just falling on them. For Meira, the character, this is special. Most Hasidic people in New York or Brooklyn have never gone to Time Square. They don't know what's there. For her is like, "Wow! There is also things like this out in the world," when for us it might like, "It's only Time Square." I think you can feel that for her it's not only Time Square, it's something more. It's something open, a big world has opened for her. I really like that scene and the music on it too.
Now that you mention music, that's one of the things Meira enjoys the most and that is also prohibited. She enjoys these classic pop songs but is not allowed to listen to them.
Maxime Giroux: Yes. She can't listen to that kind of music. Like I said, for me, and I think also for most people, music defines you or shapes you when you are young, especially when you are on your teens. That's why people still listen to U2 at 40-years-old, because when they discovered who they were that music was there. At 40-years-old you still the same person, you'll probably stay the same person all your life, and you still listen to U2. I don't understand that but that's how it is. She defined herself and found herself with this music, which is music by Black American singers from a particular time period. They were probably not slaves, but their mothers were slaves, they might feel like they are also slaves in a different way and they decide to take the fucking guitar and play music in a rebellious way.
Why did you decide to include that particular clip of this Black woman playing the guitar? It's also placed mostly without context within the narrative, a bold decision on your part because it break the cinematic grammar we are used to.
Maxime Giroux: That's the reason. For me this woman took this guitar in a man's world and said, "Fuck you! I'm gonna play the guitar and I'm gonna do whatever I want." That's what Meira wants, to do whatever she wants. At the beginning I was not supposed to put it in the movie but I decided to bring my computer on the set and I said to my Dp, Sara, "Can you film this clip on YouTube?" I started the clip and she started to shoot. Then the entire crew gathered around the computer saying, "Oh my God, what's that? It's so great" I knew it was great, and everyone was amazed by this woman, so I said, "I have to put this in the movie." I didn't know where, but during the editing process I needed a transition. I placed somewhere where you feel like something happened at that moment even if you don't see it. I thought, "Ok, I'm not supposed to do that as a filmmaker. It's a transgression, but I don't give shit. I just love this scene. I'm going to put it in and I know that some people will ask me why and I understand, but most people will like it. They will enjoy watching this big black woman emancipate herself by taking this guitar." Is the same idea during the scene at the Hispanic bar. This woman is dancing and she says to Meira, "Come dance with us." It was important for me that some women embraced Meira.
"Felix and Meira" is a great film, but it's a small. Did the positive reactions around the world surprise you? It did very well in the U.S. for a film its size.
Maxime Giroux: For sure. You are always surprised when you have success. It's not a huge success, but is still a success. The film cost nearly half a million dollars, so we were very surprised. At the same time I knew that the subject was interesting. Every time someone asked me, "What's your next movie?" I would say, "We'll it's a love story between a French Canadian man and a Hasidic woman who is married and has a daughter." Everyone was like, "Oh that's interesting." I knew that before shooting the movie but I was really afraid. I'm not Jewish, and it's difficult to make a movie about this subject. Telefilm Canada gave me money, but the Quebec government didn't give me money. They said, "How can you talk about them? You are not a Jew." I was really afraid and I knew that I had to be careful, but I also knew that people were interested in this story - even if it's a classic story. Also, when you put music like that in the movie you know that people will be easily touched. In cinema you can put a song like that and a plate of fruit on the screen and people will be touched. Let's be honest. Music is the easiest way to manipulate the audience in a movie. The director has to manipulate the audience in a good way, but music is the easiest way to manipulate the audience. You put a David Bowie song and people from that era will be touched because they will remember, "Oh that was the song that I liked when I was 16."
Now that "Felix and Meira" is traveling on its own two feet and is out there in the world, what are you working on next? Another small character study perhaps or something bigger?
Maxime Giroux: My next project will involve music. I was a drummer before and I did a lot of music videos. For my first film I refused to use music because I thought it was too easy. On "Felix and Meira" I said, "Fuck it, I'm doing whatever I want. I'm doing it for me." But the next one is about a female singer who is not very famous but everywhere around the world some people know about her. Sort of like Grimes, she can walk down the street and most people wont recognize her, but everywhere in the world some people do know her. The character is French Canadian but she sings in English. She has some money problems and to solve this problems she is going to do a concert in China with a cover band at a hotel. However, the real reason why she is doing it is to do some industrial spying in China
"Felix and Meira" is now available on DVD and on digital platforms.
- 11/26/2015
- by Carlos Aguilar
- Sydney's Buzz
"Félix and Meira" gets under your skin. A behind-closed-doors romance in the vein of "Madame Bovary" and "Anna Karenina," Canadian director Maxime Giroux's film is set in the Hasidic Jewish world of Montreal's Mile End district, where a young orthodox mother (Israeli actress Hadas Yaron) falls for an atheist loner (Martin Dubreuil) grieving the death of his father. A self-described atheist, Giroux was inspired to make the film after living in this neighborhood and seeing how difficult Jewish life was for women. "It's way more difficult for women to leave the community without their children," he told me. "We ask so much of our women in every society. For men, it's so easy. We have children, get divorced, go away and take care of those children but not too much. For these women, being a good mother is their role. Yes, they can have their own personality but if you don't make children,...
- 11/22/2015
- by Ryan Lattanzio
- Thompson on Hollywood
“Hasidic people don’t really understand the idea of love,” said Luzer Twersky, 30, who left his Hasidic Jewish community in Brooklyn at 22 to become an actor in Hollywood. “They don’t get it. You’re 18, you have eight or nine kids by 35, you have grandkids, then you die.” In director Maxime Giroux’s Canadian foreign-language Oscar submission “Felix and Meira,” which won Best Canadian feature at Toronto 2014, Twersky plays a mournful Hasidic husband in Montreal who begins to get — and also to prove — what love means when his beautiful wife, Meira (Hadras Yaron), falls in love with...
- 11/18/2015
- by Tim Appelo
- The Wrap
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
Telefilm Canada announced on Friday afternoon that Maxime Giroux’s film will fly the flag as the country’s foreign-language Academy Award submission.
Félix et Meira premiered at Toronto 2014 and tells of the improbable love affair between a Francophone Quebecer and a young Hasidic Jewish mother. Martin Dubreuil and Hadas Yaron star along with Luzer Twersky and Anne-Élizabeth Bossé.
Telefilm Canada was among the film’s funders and Nancy Grant and Sylvain Corbeil of Metafilms served as producers.
“Félix et Meira, a love story about two people from vastly different worlds, has moved Canadian and international audiences,” said Carolle Brabant, executive director of Telefilm Canada, which chairs the pan-Canadian Oscar selection committee.
“Screened at more than 50 festivals around the world, this story with universal themes has also picked up many awards. It’s now in the running for an Oscar nomination, and on behalf of Telefilm Canada, I wish the film’s talented crew the best of...
Félix et Meira premiered at Toronto 2014 and tells of the improbable love affair between a Francophone Quebecer and a young Hasidic Jewish mother. Martin Dubreuil and Hadas Yaron star along with Luzer Twersky and Anne-Élizabeth Bossé.
Telefilm Canada was among the film’s funders and Nancy Grant and Sylvain Corbeil of Metafilms served as producers.
“Félix et Meira, a love story about two people from vastly different worlds, has moved Canadian and international audiences,” said Carolle Brabant, executive director of Telefilm Canada, which chairs the pan-Canadian Oscar selection committee.
“Screened at more than 50 festivals around the world, this story with universal themes has also picked up many awards. It’s now in the running for an Oscar nomination, and on behalf of Telefilm Canada, I wish the film’s talented crew the best of...
- 9/25/2015
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
A committee of 23 made "Félix and Meira" its Foreign Language Oscar entry today. Told in French, English and Yiddish, Canadian director Maxime Giroux's film is set in the Hasidic Jewish world of Montreal's Mile End district, where a young orthodox mother (Israeli actress Hadas Yaron) falls for an atheist loner (Martin Dubreuil) grieving the death of his father. That makes three foreign Oscar entries for Oscilloscope, which released "Felix" theatrically this past April. Brazil's "The Second Mother" and Colombia's "Embrace of the Serpent" are also on the distrib's slate. Read More: Foreign Oscar Submissions So Far A self-described atheist, Giroux was inspired to make the film after living in this neighborhood and seeing how difficult Jewish life was for women. "It's way more difficult for women to leave the community without their children," he told us. "We ask so much of our women in every society. For men,...
- 9/25/2015
- by Ryan Lattanzio
- Thompson on Hollywood
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
This new French-Canadian drama explores the relationship between two people from vastly different backgrounds. The title couple are not from different countries, social status, or races. And not religions, either. They were both raised in the Jewish faith, but their cultures truly seem to clash more than mesh. He’s a somewhat lapsed Jew who’s aware of the teachings and traditions, but doesn’t seem to attend services with any frequency. She’s part of a very strict Hasidic household, married to a husband who adheres very strictly to the teachings and traditions, always clothed in his black prayer garments while spending much of his time with the rabbis and scholars at his local synagogue. And they have a young daughter, perhaps 10 to 15 months old. The title lady tries to be the good, quiet wife, but something seems to be missing, something that her new acquaintance exudes, perhaps. The...
- 5/14/2015
- by Jim Batts
- WeAreMovieGeeks.com
Israeli actress Hadas Yaron plays an inhibited and closeted Hasidic Jew in Maxime Giroux’s powerful drama Félix et Meira. Yaron came from her native Israel to Montreal to shoot in minus 30 degree temperatures but that didn’t shut down her enthusiasm for the project. She plays Meira, an Hasidic Jew under the control of her Orthodox fiancé when she embarks on an affair with a gentile. The affair lifts her out of the staid, traditional world she knows and into freedom but at what cost? The film’s reflective point of view brings her struggle into sharp focus and lets us […]...
- 5/1/2015
- by Anne Brodie
- Monsters and Critics
Concealed under subtle gestures, comfortable silences, and the mutual reassurance that one’s imperfections are insignificant, lies the foundation for our romanticized idea of love. One that cares little for consequence and that offers relief from the burdens of routine. This is exactly the kind of ferocious emotion director Maxime Giroux presents his characters with in “Felix and Meira,” his alluring portrayal of an improbable relationship between a married Hasidic woman and a secular middle-aged man going through a crisis.
Tales of forbidden romance between people from opposing worlds are evidently commonplace, but here Giroux handles the strong yearning for tangible connection afflicting both parties with utmost sincerity never asking for his protagonists to reveal more or to give more than they can within their strictly defined boundaries.
Taking care of her daughter and being and active and honorable member of the Hasidic community is all that’s expected of Meira (Hadas Yaron), a beautiful young woman who is clearly dissatisfied with the restrictive expectations of her religious existence. Her husband Shulem (Luzer Twersky) is by no means a perfectly devotee, but he strives to please his fellow men by showing he can manage his household and conform to the defined norms. There is affection in their marriage, but it can only be perceived through cracks in the walls of a fortress made of rules and regulations that separates them.
Nearby, Felix (Martin Dubreuil), a perpetually ambitionless bachelor, is dealing with his father’s imminent death and their irreparable detachment. Although members of the same Montreal neighborhood both Meira and Felix carry out parallel lives unaware of one another. They each enjoy drawing silly creatures, and when they meet at a Jewish deli one morning, this seemingly irrelevant coincidence is enough to ignite their interest.
As Giroux crafts opportunities for the lovebirds to develop intimacy, which go from childishly playing ping pong to enjoying some tunes in silence, he doesn’t forget their particular dilemmas and the risks that the mere idea of hanging out represents for Meira. While mostly quiet, she is an intriguing box of tiny secrets that expose her true personality underneath the oppressive façade she must wear. Small demonstrations of rebellion assert Meira’s individuality even if briefly. Listening to music from a record she must keep hidden, playing with noisy mousetraps despite Shulem’s disapproval, and most importantly, deciding over her own body when those around her pressure her to have more children.
With her captivating and powerfully expressive gaze, Yaron gives Meira a balanced air of innocence and subdued defiance. Slowly, as Felix invites her to discover the sounds and sights beyond the opaque environment she knows, Meira falls for him both because of his kind efforts and because he symbolizes freedom. Yet, Giroux’s film is not concerned with denouncing any particular belief or to depict religion as a paralyzing aspect of Meira’s life, instead he advocates for choice by showing there are other people, Shulem included, that are comfortable with what their faith asks of them. Meira is not, and in this culture straying from the flock has severe repercussions.
Similarly, the men in Meira’s life are confronted with their respective predicaments both as individuals and in relation to her. Felix believes his father was disappointed in him and this becomes a torturous thought, while Shulem can’t fathom the idea of losing his family and being seen as a failure. Giroux refrains from vilifying either of them or judging their reactions, because his three subjects suffer from devastating loneliness that can’t be simply rationalized.
In a marvelously touching scene Felix and Shulem discuss their feelings and, while clarifying they are enemies in the battlefield of love, they also agree that their common goal should be Meira’s happiness. Both Dubreuil’s effortlessly charming demeanor and Twersky’s stern, yet caring, performance capture two distinct versions of romantic love that keep Meira at a crossroads.
Enhancing the strong narrative at hand even further, Giroux makes use of every other storytelling element in a deliberately delicate manner. Even if for some the lack of lengthy dialogue or heavy-handed exposition might appear problematic, these qualities allow the filmmaker to rely, as he should, on the audiovisual aspects. Sara Mishara’s cinematography is brilliantly elegant throughout, but when the couple meets in New York, the shiny lights and crowded streets add a gorgeous exuberance. Colored by neon hues Felix and Meira look even more like two foreigners to the city, to love, and to each other, just trying to make sense of it all.
As an interesting extra touch, Giroux takes the time to momentarily drives away from the central conflict and focuses on singular occurrences like a conversation between a couple of bystanders or to drift into a musical sequence that is equally vibrant and timeless. Music is indeed a fantastic part of “Felix and Meira” whether is classic ballads or themes composed by Olivier Alary.
Unassumingly, Giroux transcended the shackles of familiarity and created a film that is not revolutionary, but definitely remarkable. To love out of choice or to love out of duty is what Meira must decide, but as we see in the film’s perfectly ambiguous conclusion, neither option is faultless. “Felix and Meira” is an exquisite portrait of a possibly futile love that exudes seductive melancholia and delightful nuances.
Now playing in L.A. at the Laemmle Royal and Laemmle's Town Center, and in NYC at the Landmark Sunshine Cinema and Lincoln Plaza Cinemas...
Tales of forbidden romance between people from opposing worlds are evidently commonplace, but here Giroux handles the strong yearning for tangible connection afflicting both parties with utmost sincerity never asking for his protagonists to reveal more or to give more than they can within their strictly defined boundaries.
Taking care of her daughter and being and active and honorable member of the Hasidic community is all that’s expected of Meira (Hadas Yaron), a beautiful young woman who is clearly dissatisfied with the restrictive expectations of her religious existence. Her husband Shulem (Luzer Twersky) is by no means a perfectly devotee, but he strives to please his fellow men by showing he can manage his household and conform to the defined norms. There is affection in their marriage, but it can only be perceived through cracks in the walls of a fortress made of rules and regulations that separates them.
Nearby, Felix (Martin Dubreuil), a perpetually ambitionless bachelor, is dealing with his father’s imminent death and their irreparable detachment. Although members of the same Montreal neighborhood both Meira and Felix carry out parallel lives unaware of one another. They each enjoy drawing silly creatures, and when they meet at a Jewish deli one morning, this seemingly irrelevant coincidence is enough to ignite their interest.
As Giroux crafts opportunities for the lovebirds to develop intimacy, which go from childishly playing ping pong to enjoying some tunes in silence, he doesn’t forget their particular dilemmas and the risks that the mere idea of hanging out represents for Meira. While mostly quiet, she is an intriguing box of tiny secrets that expose her true personality underneath the oppressive façade she must wear. Small demonstrations of rebellion assert Meira’s individuality even if briefly. Listening to music from a record she must keep hidden, playing with noisy mousetraps despite Shulem’s disapproval, and most importantly, deciding over her own body when those around her pressure her to have more children.
With her captivating and powerfully expressive gaze, Yaron gives Meira a balanced air of innocence and subdued defiance. Slowly, as Felix invites her to discover the sounds and sights beyond the opaque environment she knows, Meira falls for him both because of his kind efforts and because he symbolizes freedom. Yet, Giroux’s film is not concerned with denouncing any particular belief or to depict religion as a paralyzing aspect of Meira’s life, instead he advocates for choice by showing there are other people, Shulem included, that are comfortable with what their faith asks of them. Meira is not, and in this culture straying from the flock has severe repercussions.
Similarly, the men in Meira’s life are confronted with their respective predicaments both as individuals and in relation to her. Felix believes his father was disappointed in him and this becomes a torturous thought, while Shulem can’t fathom the idea of losing his family and being seen as a failure. Giroux refrains from vilifying either of them or judging their reactions, because his three subjects suffer from devastating loneliness that can’t be simply rationalized.
In a marvelously touching scene Felix and Shulem discuss their feelings and, while clarifying they are enemies in the battlefield of love, they also agree that their common goal should be Meira’s happiness. Both Dubreuil’s effortlessly charming demeanor and Twersky’s stern, yet caring, performance capture two distinct versions of romantic love that keep Meira at a crossroads.
Enhancing the strong narrative at hand even further, Giroux makes use of every other storytelling element in a deliberately delicate manner. Even if for some the lack of lengthy dialogue or heavy-handed exposition might appear problematic, these qualities allow the filmmaker to rely, as he should, on the audiovisual aspects. Sara Mishara’s cinematography is brilliantly elegant throughout, but when the couple meets in New York, the shiny lights and crowded streets add a gorgeous exuberance. Colored by neon hues Felix and Meira look even more like two foreigners to the city, to love, and to each other, just trying to make sense of it all.
As an interesting extra touch, Giroux takes the time to momentarily drives away from the central conflict and focuses on singular occurrences like a conversation between a couple of bystanders or to drift into a musical sequence that is equally vibrant and timeless. Music is indeed a fantastic part of “Felix and Meira” whether is classic ballads or themes composed by Olivier Alary.
Unassumingly, Giroux transcended the shackles of familiarity and created a film that is not revolutionary, but definitely remarkable. To love out of choice or to love out of duty is what Meira must decide, but as we see in the film’s perfectly ambiguous conclusion, neither option is faultless. “Felix and Meira” is an exquisite portrait of a possibly futile love that exudes seductive melancholia and delightful nuances.
Now playing in L.A. at the Laemmle Royal and Laemmle's Town Center, and in NYC at the Landmark Sunshine Cinema and Lincoln Plaza Cinemas...
- 4/25/2015
- by Carlos Aguilar
- Sydney's Buzz
"Félix and Meira" gets under your skin. A behind-closed-doors romance in the vein of "Madame Bovary" and "Anna Karenina," Canadian director Maxime Giroux's film is set in the Hasidic Jewish world of Montreal's Mile End district, where a young orthodox mother (Israeli actress Hadas Yaron) falls for an atheist loner (Martin Dubreuil) grieving the death of his father. A self-described atheist, Giroux was inspired to make the film after living in this neighborhood and seeing how difficult Jewish life was for women. "It's way more difficult for women to leave the community without their children," he told me. "We ask so much of our women in every society. For men, it's so easy. We have children, get divorced, go away and take care of those children but not too much. For these women, being a good mother is their role. Yes, they can have their own personality but if you don't make children,...
- 4/24/2015
- by Ryan Lattanzio
- Thompson on Hollywood
Film Circuit™, Tiff’s national film outreach program, revealed that audiences across the country awarded Don McKellar’sThe Grand Seduction and Ritesh Batra’s The Lunchbox as winners of the 11th annual Film Circuit People’s Choice Awards. The Grand Seduction was named Best Canadian Film and The Lunchbox was selected as the Best International Film.
Film Circuit operates through domestic grassroots networks and strong community partnerships, bringing Canadian and international independent films and artists to communities across Canada. From Prince Rupert to Charlottetown, Film Circuit has 174 groups in 155 locations. 2014 saw record attendance, with 342,091 people attending 2,116 screenings.
“Now in its 20th year, Film Circuit continues to grow and establish new groups across the country,” said Jesse Wente, Director of Film Programmes, Tiff. “Along with that growth, films are working Film Circuit into their release plans as a way to reach new and engaged audiences.”
In 2014, guests travelled to communities across...
Film Circuit operates through domestic grassroots networks and strong community partnerships, bringing Canadian and international independent films and artists to communities across Canada. From Prince Rupert to Charlottetown, Film Circuit has 174 groups in 155 locations. 2014 saw record attendance, with 342,091 people attending 2,116 screenings.
“Now in its 20th year, Film Circuit continues to grow and establish new groups across the country,” said Jesse Wente, Director of Film Programmes, Tiff. “Along with that growth, films are working Film Circuit into their release plans as a way to reach new and engaged audiences.”
In 2014, guests travelled to communities across...
- 4/22/2015
- by Press Releases
- Bollyspice
Geographically, the title characters of Maxime Giroux’s quiet Canadian drama “Felix and Meira” live in the same neighborhood of Montreal, but their lives couldn’t appear more different. Meira (Hadras Yaron, “Fill the Void”) is a Hasidic Jewish wife and mother, who feels cloistered within the community and its rules. She has a young daughter, Elisheva, but she defies her prescribed role to procreate by taking birth control pills, which she hides from her husband, Shulem (Luzer Twersky). He declares his affection for her, but chastises her when she isn’t the ideal wife and mother, and warns her of the shame she’ll bring to him and their daughter. Read More: Exclusive Trailer And Poster For Tiff Award-Winning 'Felix And Meira' Felix (Martin Dubreuil) struggles after the death of his father, with only his sister as a confidante. Both Felix and Meira feel isolated and alone, and when...
- 4/19/2015
- by Kimber Myers
- The Playlist
Following the Toronto International Film Festival (Contemporary World Cinema competition) world premiere (it would quickly move onto an Official Selection at the San Sebastian Film Festival) writer-director Maxime Giroux and trio of featured actors Hadas Yaron, Martin Dubreuil and Luzer Twersky took part in a jovial, post-screening Q&A for Félix et Meira. I called this drama romance an “improbability of the hypothetically tinged union arguably makes this akin to science fiction matter, the apolitical, unified titular observational drama moves beyond the losing religious faith template with its moving, lingering anti-loquacious stance“. The multi-language film would quickly get snapped up for distribution via Oscilloscope (lands theatrically today, 04.17) and it swooned the Toronto audience on hand. In the Q&A we gain insight into the production, and the anecdotal complexities and risks involved in shooting exterior shots with actors in character.
- 4/17/2015
- by Eric Lavallee
- IONCINEMA.com
Read More: Watch: Eyes (and Windows) are Wide Open in New 'Félix and Meira' Clip The romantic journey of two characters from opposing worlds drawn together stretches back to Shakespeare, but "Felix and Meira" makes no grand gestures about the timelessness of its tale. Instead, Quebecois writer-director Maxime Giroux gentle drama about a young Orthodox Jewish housewife and the secular man who draws her away from her religious life treats its subject matter with a refreshingly humble air. While there's little doubt early on that crestfallen Meira (Hadas Yaron) would do well to leave her domineering Hasidic husband (Luzer Twersky) and embrace the advances of the similarly alienated bachelor Félix (Martin Dubreuil), Giroux's slow-burn narrative — co-written by Alexandre Lafferiere — takes nothing for granted, least of all the prospects of a happy ending. Instead, Girgoux gives weight to the possibilities of kindred spirits from different worlds bonding over...
- 4/15/2015
- by Eric Kohn
- Indiewire
Music is used sparingly in Felix and Meira, and each song is key to expressing unspoken emotion. After Shulem (Luzer Twersky) leaves his modest home in Montreal's Hasidic enclave to attend prayers, his wife, Meira (Hadas Yaron), puts on a forbidden record, "After Laughter (Comes Tears)," letting Wendy Rene's plaintive voice convey her own longing. But it's Leonard Cohen's "Famous Blue Raincoat" that captures the exquisite melancholy of Maxime Giroux's romantic drama, where loss and resignation are as important as desire and freedom. When a dissatisfied Meira meets the aimless Felix (Martin Dubreuil), they have little in common aside from a love of drawing and a religion they view quite differently. (His version of...
- 4/15/2015
- Village Voice
What’s Under the Hat?: Giroux Proposes Unorthodox Paradox
Confectioned with a what makes us different makes us the same counterargument, Maxime Giroux’s third feature is one that finds commonalities between the profiled insular community and those who are lonely while visibly surrounded by others. And while the improbability of the hypothetically tinged union arguably makes this akin to science fiction matter, the apolitical, unified titular observational drama moves beyond the losing religious faith template with its moving, lingering anti-loquacious stance. Worldly in its reach and neighborly in approach, Félix et Meira is thoughtful tableaux that verberates with unabashedly sensitivity — this is Giroux’s most affecting film to date.
While fertility rates of 50’s & 60’s Quebec have plummeted to dismal rates for most French Canadians, comparatively, Montreal’s Orthodox Jewish community maintain old fashion practices of ensuring there is a next of kin. Just one among the many...
Confectioned with a what makes us different makes us the same counterargument, Maxime Giroux’s third feature is one that finds commonalities between the profiled insular community and those who are lonely while visibly surrounded by others. And while the improbability of the hypothetically tinged union arguably makes this akin to science fiction matter, the apolitical, unified titular observational drama moves beyond the losing religious faith template with its moving, lingering anti-loquacious stance. Worldly in its reach and neighborly in approach, Félix et Meira is thoughtful tableaux that verberates with unabashedly sensitivity — this is Giroux’s most affecting film to date.
While fertility rates of 50’s & 60’s Quebec have plummeted to dismal rates for most French Canadians, comparatively, Montreal’s Orthodox Jewish community maintain old fashion practices of ensuring there is a next of kin. Just one among the many...
- 4/13/2015
- by Eric Lavallee
- IONCINEMA.com
Read More: Exclusive: Oscilloscope Acquires Maxime Giroux's Forbidden Love Story 'Felix and Meira'Sometimes, shutting the blinds is a must. This new clip from Maxime Giroux's "Félix and Meira" is as steamy as it is ominous. The film tells the story of two unsuspecting young lovers, Meira, played by Hadas Yaron, and Félix, played by Martin Dubreuil. Meira is a Hasidic Jewish wife and mother, and Félix is a loner mourning the death of his father. As Félix shows her what she's been missing out on in the world, Meira is forced to choose whether to leave her current life behind. In this clip, Meira gets a glimpse of what a loving partnership could entail. The film won Best Canadian Feature at the 2014 Toronto International Film Festival. It hit theaters in New York on April 17 and in Los Angeles on April 24. Read More: Exclusive: Trailer And Poster For Tiff-Award...
- 3/30/2015
- by Travis Clark
- Indiewire
The awards season is winding down with the Oscars coming up this weekend, but don't think that you'll have to wait until next fall to see a new batch of prize-winning acclaimed films. You may have to look beyond the tentpole titles, but there are plenty of gems to be discovered in the months ahead, and "Felix and Meira" is a picture you'll want to keep on your radar. Today, we'll help you out with the exclusive trailer and poster for the movie. Co-written and directed by Maxime Giroux ("Jo Pour Jonathan," "Demain"), and starring Hadas Yaron, Martin Dubreuil, Luzer Twersky, and Anne-Élisabeth Bossé, the story is set in Montreal's Mile End neighborhood, and tracks the unlikely romance that blossoms between Meira, a Hasidic housewife and mother, and Felix, a secular man reeling from the death of his estranged father. Their chance meeting in a bakery sparks a friendship that becomes something more,...
- 2/18/2015
- by Kevin Jagernauth
- The Playlist
FÉLIX Et Meira Oscilloscope Reviewed for Shockya by Harvey Karten. Data-based on Rotten Tomatoes. Grade: B+ Director: Maxime Giroux Screenwriter: Maxime Giroux, Alexandre Lafferière Cast: Martin Dubreuil, Hadas Yaron, Luzer Twersky Screened at: Review 1, NYC, 1/22/15 Opens: 2015 Tbd We secular folks without parohocial ties should try not to be smug. There is much to be said for belonging to a group based on religion such as Haredis (Hasidim) or Amish, or what-have-you. There is a feeling of togetherness that’s difficult to find among more urban, cosmopolitan people. There is the paradoxical freedom in knowing exactly what is expected of you, what should constitute your life. However some people [ Read More ]
The post Félix et Meira Movie Review appeared first on Shockya.com.
The post Félix et Meira Movie Review appeared first on Shockya.com.
- 2/14/2015
- by Harvey Karten
- ShockYa
The 24th annual New York Jewish Film Festival opens tonight and runs through January 29. "Of the large number of films (out of 47 features and shorts) that broach the subject of assimilation, Russian director Alexey Fedorchenko’s Angels of Revolution provides a model for exploring the metamorphosis," writes Howard Feinstein for Filmmaker. His other must-sees are Maxime Giroux's Felix and Meira, Michael Verhoeven's Let's Go!, Daniel Burman's The Mystery of Happiness and Ronit Elkabetz and Shlomi Elkabetz's Gett: The Trial of Viviane Amsalem. We're gathering more reviews of more films as they appear. » - David Hudson...
- 1/14/2015
- Fandor: Keyframe
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