Top Ten: The Countries Oscar Forgot To Honor

by Nathaniel R

Any discussion of Oscar's Best International Feature Film competition throughout history begins with Italy and France. They dominated the early years and though they rarely win now they can still generate buzz with comparative ease (including this year with Hand of God and Titane). Oscar voters have (virtually) travelled to every continent and every major film market at least once or twice since the birth of the category in the 1950s. Their choices don't always reflect where the hot spots in world cinema are, though -- They notoriously missed the entirety of the Romanian New Wave in the Aughts, the provocative if brief Dogme 95 period in Denmark, apart from Japan they're super stingy with Asian cinema in general to the point where it took an international blockbuster ($259 million globably for Parasite) for them to finally notice what was happening in South Korea. Still, it's a fascinating category both for its triumphs and its failures.

All that said it's also worth repeating that no one is ever truly fair to Oscar in their critiques. It's an impossible sisphyean task to sum up the best of what's happening in non English language cinema throughout history via only five titles each season, especially since you can't control which titles will be in the mix and you cant have more than one per country. 

Here are the 10 admirably persistent countries that keep trying despite Oscar's refusal to acknowledge them. They've submitted the most often without receiving a single nomination. Will their fates change this year?

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Best International Film: Mexico's "Prayers for the Stolen"

by Cláudio Alves

I don't usually take notes while watching films. However, after a screening ends, I might run to my notebook or laptop to jot down some detail, the description of an incredible image I want to preserve in my memory. It's especially true when I know I'm reviewing said film later on, as was the case with Tatiana Huezo's narrative feature debut, Prayers for the Stolen or Noche de Fuego. This time, though, I didn't just have a couple of stray compositions that had left an impression. Indeed, I wrote down a review's worth of small observations, fleeting images that captured the imagination, portentous symbolism that enchanted through its menace, sounds echoing in my head long after the credits rolled. Such is Huezo's ability to draw poetry from harsh realism

Watching Mexico's Oscar submission is to be immersed in a cinematic world of dangerous beauty, a sinister corner of the country, rural and ruthless. In the right circumstances, the vast landscapes of mountains and poppy fields might have looked pastoral, but there's far too much menace in the air for it to register...

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Doc Corner: Denmark's Oscar Submission 'Flee' + 'We Are Russia' at DOC NYC

By Glenn Dunks

DOC NYC continues. The festival runs for in-person screenings from November 10–18 and then will carry over online until November 28. I have a Twitter thread covering what I am watching, but today we're looking at a big Oscar contender alongside a smaller, but no less worthy doc from the same part of the world.

I find it can often take a minute to get used to animated documentaries. I find the hand-crafted nature of the medium to be a bit of a barrier to the telling of these true-to-life stories. A barrier that my brain initially can’t quite comprehend when I am so used to the traditional elements—not too unlike adjusting to 3D or VR, maybe.

It’s true that animation has become more and more common in documentary, particularly as a means of representing moments of history that couldn’t have been captured on film. I sometimes wish they wouldn’t bother as the quality can often vary wildly. But like other documentaries made from a majority of animation (Keith Maitland’s Tower and Ari Folman’s Waltz with Bashir come to mind), the much buzzed Flee quickly surpasses those up-front mental blocks. Here, the vivid, colourful animation brings out an even deeper well of emotion from émigré Amin Nawabi’s story in the same way blue eyes can bring out the colour of an item of clothing.

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AFI Diary #1: "The Worst Person in the World," and More

Christopher is covering the 2021 AFI Fest Film Festival. Follow along for his reviews.

The 2021 AFI Fest Film Festival began Wednesday, November 10th with the World Premiere of Netflix’s Tick, Tick... Boom! (which got raves from Nathaniel). My festival began on Thursday with three films: one documentary feature, one international Oscar contender and a romantic anthology that had a splashy Cannes debut. It already feels great to be back in-person at a film festival. AFI is doing a hybrid of in person and virtual screenings this year, offering a nice variety for festivalgoers.

Without further ado, the reviews:

The Worst Person In The World (Joachim Trier) - Norway's Official International Feature Film Oscar® Submission...

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International Oscar Race Pt 1 - 93 Films This Year. It's List Time!

by Nathaniel R

It's that lovely too brief moment in the year when we have the pretty-much official list for Best International Film before they are savagely narrowed to 15 films on December 21st and then further reduced for the actual nominations in . It is possible that a couple will be disqualified of course (as that happens from time to time and there are two titles that might be if IMDb is correct that they're fully in English. This year there are 93 submissions (full charts / letterboxd list / predictions) so let's break it down for some stats and trivia for fun, shall we?

The Dozen Highest Profile Submissions

Please do not mistake this list for Finalist predictions! Armchair pundits often make the mistake of assuming that high-profile means you'll be nominated but you never know what the individual voters and the Executive Committee might like. History is full of high profile titles that Oscar rejected in this category...

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