TIFF 51: “Fjord” works great as a conversation starter

by Cláudio Alves

I don’t want this to become a yearly tradition. However, it’s notable that, for the second TIFF in a row, I chose to cap my first day at the fest with a Cannes prizewinner starring Renate Reinsve, coming hot into the awards season with NEON’s backing and the recommendation of a battalion of fellow critics I follow. And at the end, I find myself a contrarian. But while Sentimental Value was merely a disappointment, Cristian Mungiu’s Fjord is much worse, an outright catastrophe that’s probably my most despised Palme d’Or choice since Sophia Loren’s jury decided to give the festival’s top prize to The Birds, the Bees and the Italians, way back in 1966. Reinsve innocent, though… 

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The Philippines delay Oscar submission! What gives?

By Juan Carlos Ojano

FILIPIÑANA has the potential to break the Philippines’ Oscar-less streak… if it gets submitted.

The Film Academy of the Philippines was set to announce the country's official submission for Best International Feature Film at the 99th Academy Awards last September 4. However, a statement was issued instead, postponing the whole thing to give way for further deliberations.

This comes after the Filipino theatrical release as well as the US theatrical release of the supposed frontrunner, Rafael Manuel's dark comedy Filipiñana, which depicts a day at a luxury resort where the difference between classes is starkly illustrated. Think of it as an arthouse White Lotus, if Mike White gave creative authority to some formalist-minded director or an anti-colonial auteur like Lav Diaz. Executive produced by Jia Zhangke and distributed by Kino Lorber (North America) and BFI Distribution (UK and Ireland), the film is enjoying a healthy run in international circles, while maintaining well-attended screenings in limited release in its home country.

And yet, there's trouble afoot with the matter of its selection as the nation's Best International Oscar submission...

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First 11 Submissions for Best International Feature Film

by Nathaniel R

It's nearly September which means we're about to be flooded with the official submissions for Best International Feature Film for the upcoming Academy Awards. Within the new system, which allows prize winners at a handful of major film festivals automatic entry into the competition, we know that the Turkish language film Yellow Letters from German director Ilker Catak, Norway's Fjord from Romanian auteur Cristian Mungiu, and the Albanian film Shame and Money from Visar Morina can compete without being selected by their country/countries of origin. It'll be interesting to see if those countries select different films to double up their chances or double-down on the acclaim that's already there.

But here are the 11 films to date that have  been named as their home country's official submission...

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Are the new Best International Film rules a good idea?

As the summer stands between us and the awards season to come, Cláudio Alves and Juan Carlos Ojano discuss some of this year’s new Oscar rules, focusing on their beloved Best International Film race.

Visar Morina's SHAME AND MONEY became the first film eligible for the Best International Feature Oscar this season, when it won the World Dramatic Competition at the Sundance Film Festival.

CLÁUDIO: Much was said about the Oscar rule changes when they were first announced at the beginning of May, with various opinions going around. While the possibility of actors double-dipping in the same category for the first time since the 1930s is enticing, the transformations to the Best International Film race are perhaps more important and worthy of discussion. And who better to discuss it with than Juan Carlos Ojano, the only person I know who has seen every single nominee in the category's history and discussed them through The One-Inch Barrier podcast? But first, let's assess the rules themselves…

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Cannes: Paweł Pawlikowski is Palmę-ready with "Fatherland"

by Elisa Giudici

Pawel Pawlikowski has always been a filmmaker of absence. Empty space, withheld emotion, silence so heavy it seems architectural: his cinema has long depended less on what characters say than on what lingers unresolved between them. Fatherland may be the purest expression of that sensibility, a film reduced to such an essential form that it almost appears to vanish while unfolding, only to return afterward with quiet, devastating force.

At first, it can seem unexpectedly modest by the standards of, say, Cold War. Fatherland is less sweeping, less immediately transporting. But the images begin resurfacing hours later. A corridor swallowed by shadow, a pause stretched slightly too long. A father and daughter speaking with perfect intelligence while emotionally disintegrating in front of one another. Pawlikowski has refined his cinema here into something severe and distilled, and the result is extraordinary...

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