Oscar Submissions: Spain, Iran, Lebanon, Portugal, The Phillipines and Finland

This just in... well, actually it's been burning a whole in my inbox for a day or two. SPAIN, no stranger to Oscar glory with 19 nominations and 4 wins behind them, have narrowed their Oscar list down to 3 films.

It's a fairly standard choice facing Spain. They've got a Pedro Almodóvar film (The Skin I Live In), which automatically assures high profile discussions and viewers in the States even if the film isn't particularly Oscar-ready competing with a lesser known film which is more loved at home (Agustí Villaronga's Pa Negre or Black Bread) and a new film that not a lot of people have seen that hasn't even been released yet (Benito Zambrano's La voz dormida). The latter film is based on a novel and about women who were jailed during the Franco years. 

I'm guessing they go with Pa Negre (which translates to Black Bread) since it made such a very impressive showing at the Goyas this year taking Best Picture and eight more trophies along with it. The film is set in rural Catalonia during the Spanish Civil War and features Sergí Lopez (Pan's Labyrinth) and I hear that the child actors, one of whom discovers a dead body in the forest, are just great in it. I posted the trailer some months ago. [UPDATE 09/28/11: Yes, it was selected. See the Oscar Charts]

UPDATE: In confusing official and then not official but maybe possibly official eventually news...

IRAN (1 nomination) supposedly submitted Asghar Fahradi's A Separation, (pictured left) which is already an award winning film, a marital drama with a high international profile. Sony Pictures Classics will distribute. I immediately put it in my prediction list. But supposedly Iran wasn't happy that this news rushed out and it wasn't official official. Distinctions! So it might be A Separation but they're now considering Ahmad-Reza Motamedi's Alzheimer's, Bahram Tavakkoli's Here without Me, Ali-Reza Davoudnejad's Salve and Rambod Javan's No Men Allowed as well.

In more official news

FINLAND (1 nomination) has gone with Aki Kaurismäki's Le Havre as everyone suspected wish is about a shoe shiner who befriends an immigrant. Kaurismäki gave Finland its only nomination with the dry funny The Man Without a Past some years back. 

LEBANON (never nominated) has submitted the musical that's now playing at TIFF, Nadine Labaki's Where Do We Go Now? which is from the director of Caramel.

PORTUGAL (never nominated) will submit José & Pilar, which is a documentary by Miguel Gonçalves Mendes about the bestselling novelist José Saramago (Blindness) and his wife as well as the friction between private artists and their public lives. Sounds interesting. Guess what? Actor Gael García Bernal and director Fernando Meirelles (who were of course both involved in the Blindness film adaptation) also appear in the film.

This just in...

THE PHILIPPINES (never nominated) are submitting Woman in a Septic Tank which sounds really interesting. I'm also in love with the poster.

It's a comedy about the making of a movie as three filmmakers meet in Starbucks, call on their lead actress (played by Eugene Domingo as both herself and the character in the movie) and plan their poverty drama's shoot which will take place in a garbage dump. The movie gets reinvented several times over and changes genres and form in their imaginations.

TIFF: ALPS, Edwin Boyd

Amir reporting again from The Toronto International Film Festival where I saw something I frankly can't recall ever seeing on the big screen before: Toronto history.

EDWIN BOYD
I’d watched Edwin Boyd only a couple of hours after Rampart (covered yesterday), but the review had to wait.  Scott Speedman plays the titular character, a serial bank robber in the post-war Canada of the 50s. Boyd, if you haven’t heard of him, is something like a Canadian John Dillinger figure. But I assure you this film is miles better than Public Enemies.

I’d heard the film was a total crowd-pleaser and the reports were true. It’s a clichéd film that uses all the tricks of the gangster genre – bursts of action sequences, romantic subplots, pretty girls, crazy sidekicks – but it doesn’t misuse them. Sure, you’ve seen this stuff before, and yes, the film feels too self-aware of its cinematic qualities as many genre films do, but the two hours go by like two minutes as Speedman charmingly reincarnates Boyd. This version of Boyd’s life is extensively romanticized and many details of his life have been completely eliminated, but from a purely cinematic standpoint, Edwin Boyd was a pleasure.

ALPS
The most significant film of the past two days was my personal most anticipated of the festival, Yorgos Lanthimos’ ALPS (If you’ve ever stumbled upon my blog, chances are you already know the extent of my affection for his last film, Dogtooth.) The good news is that ALPS totally lived up to my expectations. Though it’s hard to imagine Lanthimos finding new fans with this film - I’ve even encountered a few Dogtooth fans who were left cold by it - this signature work moved me in ways I did not expect and it stands high above the lot as the festival’s best offering so far.

ALPS is about a group of four people who get paid to substitute for the recently deceased to comfort their families. No information is given to us about the personal lives of three of them, but for the fact that one is the gymnastics coach of another. The fourth person, Monte Rosa (played by the brilliant Aggeliki Papoulia) is a nurse who’s also taking care of her aging father at home.

Peppered with absurd comic situations and brutal violence similar to what we saw in Dogooth, and boasting even bolder stylistic choices, ALPS reaffirms Lanthimos as a distinctive voice in today’s cinema and a visionary storyteller. He’s maintained his confident directorial control, only this time he adds a more poignant and heartfelt dimension to the film. And partnering with a new cinematographer here, he plays beautiful games with camera focus that he admitted (during the Q&A) weren’t always thought of in advance, but feel so right on the screen.

The real strength of the film however, lies in its script. If Dogtooth raised essential questions about the nature of identity, ALPS asks us to reconsider our perceptions of the identity of those around us. It will leave you thinking about the authenticity of your relationships and wondering how strong the bases of our interactions really are. How difficult is it to really replace someone? On what basis are relationships formed anyway? Do we maintain them by habit or will anybody do, if they wear the right clothes and repeat the same sentences? And so on. These questions are masked by Lanthimos’ surreal approach to storytelling but if you dig deep enough, ALPS is a layered and rich psychological study.

Often times at major festivals, we hear that a screenplay or a director award is given to compensate when a great film misses out on the top prize. Rumours about ALPS’ screenplay win at Venice say the same, but in this particular case, I think we can reject the possibility. This script can stand on its own merits.

Still to come: Andrea Arnold, Nuri Bilge Ceylan, Joachim Trier and Tahar Rahim to talk about, so stay tuned!

Yes, No, Maybe So: "We Bought A Zoo"

Perhaps it's my childhood calling but I've been looking forward to We Bought A Zoo all year on account of me likey the wild animals. I even initially thought it might be in the Oscar race on account of inspirational film and comeback possibilities for its director. But that was then... We finally have a trailer for Cameron Crowe's first movie since everybody decided to shun him (Elizabethtown) just a few short years after everyone decided that they worshipped him (Almost Famous). In the new film Matt Damon plays a widower (I think? It's unclear) struggling to raise his kids from central casting: let's call them Quippy Cute Moppet and Mopey Teenager In Need Of Fathering. The family is sad and needs a fresh start. They buy... wait for it... A ZOO!

Now, let's break it down with our patented Yes, No, Maybe So system. Does the trailer make us eager, eager to avoid or leave us somewhere inbetween? 

YES

• Matt Damon is aging gracefully, still handsome and still a belieavable everyman type. He'll undoubtedly be sympathetic as a widower with needy kids. 
• Wild Animals! Wild animals that don't dream of hanging out at TGIF with Kevin James. If you couldn't picture yourself jumping up and down with glee (ages 8 and under) when you heard that your new house is a zoo just like Quippy Cute Moppet you have grown way too cynical.
• Damon + Thomas Haden Church +  Elle Fanning +  Scarlett Johansson = solid starry blonde cast.
• Wait... is Scarlett Johansson playing a real person this time? Like not an idealized muse but an ordinary woman? 

NO

• Ugh. Turns out that Quippy Cute Moppet is a signatory to Hollywood's Mandatory Dissing of Bald Men Act. Haters gon' hate. 
• Ugh. Turns out that it's yet another movie that buys into America's dullard hatred of Elitist Education and Actual Job Training in favor of Blind Worship of Chutzpah. Just Do It!  "You don't need any special knowledge to run a zoo, just a lot of heart"... uhhhhh, don't you need some specialized knowledge of how to care for LIVING WILD ANIMALS ?! I'm guessing: yes. Heart won't help you if the animals have a toothache or a pregnancy!
• The music chosen for the trailer (bonus point to the first person who names it in the comments) is shorthand for Inspirational Underscore. 
• So too is the golden hue and pensive sunlight shorthand for Inspirational Film. 
• So too are the constant inspirational pep talks shorthand for Inspirational Pep Ta... uh, well.
• Will there be any single beat in this movie that isn't flat and processed and predictably shaped like a slice of American cheese?
• Is that moment that Matt Damon is all "whoa" with his body when he hears the lion roar, straight out of Amateur Slapstick 101 or is this trailer's editing just completely unforgiving? 
• "I want them to have an authentic American experience." I hope Matt isn't talking about raising his kids within a zoo because I've never met anyone who grew up in a non-figurative one. 
• Let me guess, Mopey Teenager In Need of Fathering falls in love with Elle Fanning? Is this going to be a distracting subplot in order to have something for everyone ala that high school crush thread in Crazy Stupid Love? 

Little Known Fact: Excessive Exposure to Bathetic Platitudes and Inspirational Media Causes MigrainesMAYBE SO

• Though it looks insufferably like a Generic Inspirational Family Film with wild animals as merely decorative distraction, who knows. Trailers are meant to appeal to the widest possible audience.
• Maybe the bear eats Quippy Cute Moppet?

The "No" column is awfully robust, I fear.

Where do you fall with this one? Or on Cameron Crowe in general actually? Tell me you at least love wild animals. 

Links: Funny Girl's Man, SJP's Moves, Shame's Triumph

BlogStage Nicky Arnstein Nicky Arnstein what a beautiful beautiful name ♫ Broadway's upcoming revival of Funny Girl has its leading man. Film, tv, and stage actor Bobby Cannavale will star opposite the previously reported Lauren Ambrose (Six Feet Under) who'll be filling those legendary Fanny Brice shoes. 
Stale Popcorn Without Sandra Bernhard You Are Nothing! 
Movie|Line A Guide to Exactly How Sarah Jessica Parker Does it In Every Chick Flick
In Contention Kris Tapley and team are moving to HitFix. Go and congratulate them.
Popbytes Anderson Cooper goes tanning. Noooo. Pasty forever! (although it's funny that they paint muscles on. I didn't know this!)
IndieWire Steve McQueen's Shame is leading the critical assessment of TIFF's abundant selection of films.
IndieWire interviews Glenn Close and Janet McTeer on Albert Nobbs 

Finally, this comic from PHD Comics goes out to all of my friends and maybe some of you readers still struggling through projects in the weird and wonderful world of Academia.

Whenever I want to dive into some totally obscure film topic and spend 100s of hours writing an article only 10 people would ever want to read or realize that my own personal obsessions are just not mainstream enough for the enormous success I'd definitely enjoy, I think of all of you. Whenever I remember that time an editor looked at me like I was insane when I pitched a Norma Shearer book ("do you want more than 500 people to read it?") I think of you. Keep your head up. Research the hell out of whatever it is you're researching. Write the hell out of it.

TIFF: Michelle, Andrea and Felicity in buzzy films.

Paolo here. Day 6 of TIFF brings movies about love and passion crossing borders and oceans or trying to, despite the difficulties. Ladies and gentlemen, bring your handkerchiefs or roll your cynical eyes.

THE LADY (Luc Besson)

Most of you must already know about detained Burmese President-elect Aung San Suu Kyi (Michelle Yeoh), but her unlikely entry into political life happened so long ago that we, especially the younger generations, forget a few facts. First, that she lived in Oxford and bore two boys for her husband Michael Aris (David Thewlis), a professor of Southeast Asian studies and that the reason for her untouchable status in a military dictatorship is her ties to England. Second, that the reason the university intellectuals have chosen her as the figurehead of the Burmese democracy movement is because her father, a general, fought for the same goals after World War II.

The story of her adult life is now adapted to the screen as The Lady directed by Luc Besson. This movie allows Besson to diversify his CV but I personally couldn't avoid looking for his trademarks. Suu is Besson's female heroine, Michael his the Tati-esque old man, and a superstitious general is the campy, quirky villain. Besson keeps the violence to a reverent level this time, even if Suu's father becomes a martyr in the film's first scene. The Lady also has a few montages which chronicle the news of Suu's planned rallies spreading throughout the streets of Rangoon. They went on a bit longer than necessary.

As biopics go, The Lady has a surprsing lack of naturalism. Take this paraphrasal of one of Suu and David's conversations:

'The world reveres you as someone with no negative qualities.'
'I will list my negative qualities right now.'
'Your negative qualities made me fall in love with you.'

But because I like this, I'll call it 'classic English dialogue', pulled off well by Thewliss and especially Yeoh who has perfected a politician-style elegance; in a festival full of misanthropy, characters who are 'too nice' are a welcome change.

W.E. (Madonna)

The title of Madonna's much-discussed new film, is an acronym for the most gossiped marriage in the past century between Wallis Simpson (Andrea Riseborough) and King Edward VIII (James D'Arcy). The couple belong to a story within the story, which is an obsession for  fairytale-stricken Wally Winthrop (Abbie Cornish), who comes close to the couple's property six decades after their exile. Wally is bored of her neglectful husband while befriending a foreign Sotheby's security guard (Oscar Isaac). I'll assume that Madonna took on this story in engender her own so-called feminist perspective, and she brings a sympathetic and sometimes humorous light to the maligned woman. I would have preferred to see a movie based on "Famous Last Words," Timothy Findley's novel about Wallis.

More on what I liked about W.E. and disliked about Like Crazy after the jump.

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