Interview: Ivan Ostrochovsky on Directing the Slovak Oscar Submission 'Koza'

Jose here. As Creed gains popularity in the awards season, it would be fascinating to juxtapose it with Ivan Ostrochovsky's Koza, the Slovak Foreign Language submission which also happens to be about a boxer. The main difference with both films is that in the very American Creed, boxing is a noble enterprise used by the hero to reclaim his position among the "gods" (it's no accident that in such an Oedipal drama, the leading character's name is Adonis). In Ostrochovsky's film, boxing is the means by which the leading character (played by real life boxer, and former Olympian, Peter Balaz) who goes by the nickname Koza (which means "goat") is trying to raise money to prevent his wife from having an abortion. 

Formally exquisite, and with a running time of a little over an hour, showing how great editing proves that less is indeed more, Koza is an exemplary work of art that combines documentary filmmaking and drama. Its un-romantic look at sports might prove revelatory to some (it certainly did to me) and Ostrochovsky's deep humanism should place him as a director to keep an eye on. He was also kind enough to answer a few questions I had about the film, including how he directed Balaz, and what an Oscar nomination might mean for his career.

Read the interview after the jump...

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Suffragette on the Campaign Trail. Votes for Carey. Votes for Women!

Carey Mulligan stepped back out onto red carpets this past weekend at the Moet British Independent Film Awards (Suffragette was ironically honored only for its most prominent male actor Brendan Gleeseon) looking as fashionista fine as always. I was strangely surprised to see her. I had been imagining her safely ensconced at home and away from the demands of red carpets and press chatter these past two weeks since she had been out and about so much before the holiday.

I had the opportunity to chat with the Suffragette star very briefly at two separate events in her honor on two separate coasts and very nearly back-to-back before Thanksgiving. This after a busy October in London where Suffragette's opening was quite an event and just before that in September she gave birth to her first child, daughter Evelyn Mumford. And just before that she was treading the boards on Broadway in the play Skylight for which she was Tony nominated.

Whew. In short she's been hard at work for the past year... albeit with lovely A list working conditions. Lovely working conditions would be impossible to imagine for her latest alter ego, Maud Watts, the fictional laundress who reluctantly and then passionately embraces political activism within very real British history.

The most amusing anecdote I can remember from our brief chat is that Carey told me that her time in the makeup chair was the shortest she'd ever experienced on set.  They called them 'rough ups' instead of 'touch ups'... since the actresses always had to be sweaty and exhausted rather than beautifully camera ready.

It's somehow perfectly endearing that Carey accidentally blinked when I took her photo (below) because surely she deserves a little sleep after the tireless promotion of the movie.

At the second event, an afternoon tea in New York, I jokingly asked her if she even knew where she was at this point what with all the travel and events. She played along answering with cheerfully fading confidence.

I'm in New York! ... apparently?"

Suffragette arrived at quite an auspicious time to engage with its depressing modern relevance despite taking place in the early 1900s. While the movie didn't light the box office on fire, her Best Actress bid still appears to be toasty warm albeit within a very competitive field. And if it doesn't happen this time there's always the next time for this tireless star.

Image Awards Love "Creed"

Some of the nominees and omissions from the NAACP Image Awards over the years have been truly bizarre. We chalk that up to it not being a film based organization and far more concerned with representation than the movies themselves. Though they are not an Oscar precursor in the traditional way, they do add another insight into which films people are thinking about at this time of year. We expect that Oscar will share their love of Creed. It led the nominations for movies and Michael B Jordan is even up for "Entertainer of the Year".

That's a distinction worth noting because he's the only one of the "Entertainer" nominees that's associatedly directly with the movies for this awards cycle. The rest (Pharell, Shonda & Viola, Misty Copeland) are clearly nominated for their contributions to music, television, and performing arts. 

The film nominees are...

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Oscar's VFX Finalists: Lightsabers and Robots and Bears, oh my!

Usually when the Academy releases the finalists for their Visual Effects category, the list is so short that we can spend time bemoaning the lost chances of great movies. We were all ready to despair about Ex Machina being cut since films where the visual effects are genius but "supporting", as it were, are rarely if ever the ones they honor.

But lo and behold a much bigger list than usual with Ex Machina on it (yes!) as well as the practical effects wonderment that is Mad Max: Fury Road.

• Ant-Man
• Avengers: Age of Ultron
• Bridge of Spies
• Chappie
• Everest
• Ex Machina
• Furious 7
• The Hunger Games: Mockingjay – Part 2
• In the Heart of the Sea
• Jupiter Ascending
• Jurassic World
• Mad Max: Fury Road
• The Martian
• Mission: Impossible – Rogue Nation
• The Revenant
• Spectre
• Star Wars: The Force Awakens
• Terminator Genisys
• Tomorrowland
• The Walk

Which 5 of these finalists will you be rooting for?

P.S. Now we'll just have to puzzle out what was CGI in Bridge of Spies and speculate about how many prizes "Judy" the bear from The Revenant can wrack up this year? Leonardo DiCaprio tasted just like Oscar and she's hungry for more.

P. P.S. Does this mean the Executive Committee of AMPAS vfx branch were given a private screening of Star Wars or did they just give it a placeholder break?

P.P.S. I refuse to be ashamed that I saw Avengers: Age of Ultron three times and it deserves the nomination for The Vision alone... let alone the rest of its spectacle. But since it's popular to hate on now, will the Academy skip it? Your theories are welcome in the comments.

Interview: Director Gabriel Ripstein on Mexican Oscar Submission '600 Miles', and Working with Tim Roth

Jose here. I spoke to 600 Miles director Gabriel Ripstein minutes after an earthquake hit Mexico City on November 23rd and unexpectedly became the bearer of bad news when I asked him if his family was alright. Mr. Ripstein wasn’t aware there’d been an earthquake, but calmly added “no news is good news”. His serene demeanor reminded me of the tone of his film, a weapon-trafficking tale which could’ve easily become a sensationalist drama, but instead goes for an understated, thoughtful approach. The film stars Tim Roth as an American ATF agent who is kidnapped by a Mexican weapons smuggler played by Kristyan Ferrer (who audiences will know from Sin Nombre).

Ripstein allows his actors to revel in the humanity of these characters and delivers a film that goes beyond “odd couple” clichés, to comment on an issue that doesn’t get as much coverage as the war on drugs or terrorism. Because of its confident pacing and bold mise-en-scene, one wouldn’t guess from watching the film, that it also happens to be Ripstein’s directorial debut (it won the award for Best First Feature at the Berlinale), and yet, the first time filmmaker impressed members of the Mexican Film Academy so much that they submitted his film as their Oscar entry. I spoke to Ripstein about working with Roth, the incredible cinematic legacy of his family, and what an Oscar nomination might mean for his career. 

Read the interview after the jump...

 

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