Norway's Oscar Submission Finalists

by Nathaniel R

Since we last discussed the Best International Feature Film four more official submissions have been announced from Egypt, Nepal, Slovakia, and Ukraine which you can read about on those charts (click on the country names) with several more to follow since oft-nominated countries like Spain, Italy, France, and Sweden are all announcing in the next few days. Tonight though, one of my favourite topics: Norway! As longtime readers know I once lived there and was once fluent in Norwegian. Those days are long long gone but I still like to watch Norwegian movies and television and try to turn off the subtitles on occassion.

Norway has announced three finalists for their submission: Let the River Flow, A Happy Day, and Songs of Earth...

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TIFF ’23: Baby, It’s Cold Outside

by Cláudio Alves

In narrative constructs, intense emotions, especially romantic ones, tend to be associated with high temperatures. It’s as if the feverous feeling escaped the body into the atmosphere. Or, maybe it’s the other way around, hearts and libidos inspired by the surrounding heat to burn hotter than ever. And yet, there’s something deceptively powerful about the flame of attraction sparking alive within the bitter cold. In those cases, one almost desires human connection as a physical need. The body calls for the warmth of another person. The mind yearns for companionship, a panacea to the frozen solitude of every day.

At this year’s TIFF, two films explore this dynamic, allowing the frigid climate to become as strong a force as human arrogance or the heart’s most ardent desires. In both examples, a love triangle emerges from the snow. They’re Nuri Bilge Ceylan’s About Dry Grasses and Anthony Chen’s The Breaking Ice…

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TIFF '23: Zar Amir Ebrahimi mesmerizes as "Shayda"

by Cláudio Alves

"Shayda" is coming to US theaters on December 1st from Sony Pictures Classics.

Though I've hardly been running after Oscar contenders while at TIFF – apologies if that's what you wanted out of this coverage – the Best International Film race remains at the forefront of my mind. With new daily announcements, the festival's an excellent opportunity to catch some titles that could be hard to track down later in the season. So, a lot of my scheduling has been built around productions that might end up in that race or have already been confirmed for the 96th Academy Awards. Not all of the experiences are positive, but  a few of them are revelatory.

Such is the case of Noora Niasari's feature debut, Shayda, representing Australia. If you thought Zar Amir Ebrahimi was remarkable in last year's Holy Spider, wait to see what she does here…

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International Oscar - French finalists and Chart updates

by Nathaniel R

Anatomy of a Fall

Oscar often shouted "Viva La France!" in the 20th century. They're still enthused in the 21st century but they're no longer broadcasting it as loudly. France hasn't won since 1992's Indochine 31 years ago. Still they've continued to collect frequent ominations. In fact, they're the most nominated country of all time by such a significant margin that it's difficult to imagine another country catching up (especially with closest rival in this regard, Italy, being less frequently nominated these days). This year France is choosing between five pictures, two of which (at least) would make formidable contenders if selected. The other three might, too, but their profiles are considerably lower at the moment. The finalists are... 

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TIFF '23: Shadows of Our Violent Past

by Cláudio Alves

Examining troubled history through art can be a necessary confrontation, even a search for catharsis. You can't move into a brighter future without acknowledging the shadows lurking in the past. It's no wonder, then, that countless filmmakers use their skills to make these excavations on the dig site of the screen. For all that Shinya Tsukamoto's Shadow of Fire and Felipe Gálvez Haberle's The Settlers tackle their respective countries' histories, they're not traditional period pieces content to passively restage yesteryears. They bear the weight of an artist's singular vision…

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